L.A. Opera’s recent Mod Night at the Opera event on June 5th outside the Dorothy Chandler Pavilion was a valiant effort on the part of the marketing and PR departments to attract a wider audience to the opera. Although there were only five Vespas and two Lambretta’s on view on the plaza, the stunning motobikes and their knowledgeable owners provided a nice addition to the standard operatically informative talks that take place inside prior to the performance.
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Nadya Ginsburg’s Madonnalogues hits the underground stage of the Cavern Club in Silverlake this Tuesday evening, June 11th at 8PM. Last month “Madge” showed up fresh off the red carpet from the Met Ball wowing the audience with her spot on impressions of the pop icon’s costume and reminiscences of the event. You do not want to miss the uproarious surprises Ms. Ginsburg and her uber-talented show partners bring to the stage and entire theater space! We spoke with the artist and performer about crafting her Madonna character, how she got into performing, and what you can expect from tomorrow night’s Madonnalogues Variety Hour.
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In collaboration with the LA Opera, the Tappan Collective is presenting a one night pop-up exhibition titled Hidden Harmonies. The show is being held tomorrow, June 5th, at the Dorothy Chandler Pavillion as part of their Mod Night at the Opera event. The show is curated by Jay Ezra Nayssan and will feature artists Amanda Charchian, Doug Galante, Stevie Howel, Dean Levin, Cesar Vega and Julian Wellisz. To get an idea of what to expect, we spoke with Chelsea Neman and Jordan Klein of Tappan Collective about this wonderful teaming up with the Downtown musical destination.
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Experiencing Adam Linder’s Cult to the What on May 13th at Pieter Performance Space in Lincoln Heights felt rivetingly iconoclastic. What separates Linder’s work from other solo and dance company performances I have seen lately is his level of direct and sporadic engagement with the audience. As a performative device, eye contact with the audience can be implicating, distancing or rapturous. Linder’s beatific, panning gaze developed a string of energized contact that unified the audience into an “ism”ed flock. With his brief but inclusive eye contact, Linder roped us all into his movements and monologues like a guide counting his devotees.
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Ryan Heffington allows himself to get out of the way of his work and generously provocates and unites others to create with him on the same stage. For artists, making room for a concept to take root and develop on its own is no easy task when the left side of the brain attempts to gain the upper hand while playing reality check out clerk. It is rare in our age of confessionalism and self-credit to witness an artist releasing control, providing an idea for germination, and inviting others to own and to alter it as well. Perhaps Sir Heffington is ahead of his time or I have been too self-absorbed to notice a shift in creative world dynamism where the concept of mine is no longer part of the game.
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