Condola Rashad on 'Romeo and Juliet' Orlando Bloom: 'We had a connection from the minute we met'
It's no surprise Condola Rashad is one of Broadway's hottest rising stars. Entertainment's in her blood (mom is award-winning actress Phylicia Rashad, dad is NFL legend and sports commentator Ahmad Rashad). One could say Condola's been in show business her whole life. Even before then. She made her first TV appearance during season three of "The Cosby Show," when her mom (who was then playing TV's reigning wife and mother, Clair Huxtable) worked during her pregnancy. Fans may recall Phylicia's baby bump was hidden by clever staging -- Phylicia held bags of groceries or read in bed on her stomach, with a hole cut out of the mattress. In the years that followed, Condola, now 26, grew up in Mount Vernon and hung out with mom on the "Cosby" set. She studied theater at the California Institute for the Arts, then hit New York, making her 2009 Off-Broadway debut in "Ruined." She then earned Tony nominations for strong performances in "Stick Fly" (in 2012) and "The Trip to Bountiful" (last spring).
Now, she stars as a certain star-crossed lover opposite heartthrob Orlando Bloom in "Romeo and Juliet" at the Richard Rodgers Theatre. She chatted with Newsday contributor Joseph V. Amodio. Read More.
Like a piece of gym equipment that always yields a great workout, most musicians have favorite tunes. For saxophonist Ravi Coltrane, "Who Wants Ice Cream" by trumpeter Ralph Alessi has proven especially fertile, drawing him back again and again since he recorded it as part of the album Spirit Fiction.
Coltrane is expected to play the tune during our webcast of his performance Live at the Village Vanguard Wednesday night. In an interview, he offered a musical primer to explain its lasting appeal — and his taste in frozen treats. Read more.
Side Street Projects Announce The Finishing School’s “Psychic Barber”
Side Street Projects is excited to announce “Psychic Barber” a new social sculpture by artist collaborative Finishing School in collaboration with Jean Robison and Yucef Merhi. Participants will receive psychic readings and haircuts by real hairstylists who also have psychic abilities. These services are free and open to the public.
“There are social strata, even occupational and ethnic groups, whose social situation predisposes them to be regarded by the larger social communities as practicing magic: women, young children, professions such as barbers and physicians, strangers and others.” – Edward A. Tiryakian
The project was initiated by the chance encounter Finishing School had in 2012 with a neon sign reading “Psychic Barber”. They recognized immediately that it was important but did not know why. It provoked a pondering of the unknown and later, transformation for them as a collective. They want that same experience of excitement, the unknown, and transformation to be passed on to others. After the invitation to present the project in Pasadena at Side Street Project they consulted a psychic. That experience flooded them with themes including consciousness, labor, class, beauty, magic, mysticism, religion, realness and representation, spectacle, architecture, history, technology, civic/institutional critique, surveillance/privacy, and exhibitionism/voyeurism. Read more.
The year was 1987, the check was for $50 million, its signator, Lillian Disney. And with that began a saga -- the building of Walt Disney Concert Hall -- that would put Los Angeles on the cultural map, much to the envy of other arts meccas, including New York City, whose Carnegie Hall had been the apotheosis of pristine sound since 1891.
Of course, little did anyone know that it would be 16 years before the magnificent, Frank Gehry-designed steel structure (we're talking more than 22 million pounds of the stuff), opened its fabulous doors. But on that night, October 23, 2003, with music director Esa-Pekka Salonen leading the Los Angeles Philharmonic and the Los Angeles Master Chorale (the Hall's second resident company, celebrating its 50th anniversary this season), in the first of three gala concerts, the orchestra took center stage.
Okay, both the Hall and the Philharmonic triumphed, with antiphonal sounds originating from various nooks and crannies throughout the evening, including the loft surrounding the magnificent organ, where concertmaster Martin Chalifour opened the concert by bowing some Bach. (Designed by Gehry with sound design by Manuel Rosales, the organ, with its 6,125 pipes -- resembling French fries, pick-up sticks or whatever flights of fancy one's imagination takes -- is dazzling.) Read more.
In New Mexico, you know autumn is coming when you smell the chile roasting.
The bitter aroma rises from street corners and grocery store parking lots, where spicy green peppers plucked during the September harvest are blistered to perfection in cages cranked over an open flame.
We buy them by the sack and put them in or on nearly everything we eat: burritos and tamales, of course, but also hamburgers, pizzas, pastas and pies. Read more.
The daughter of TV's Phylicia Rashad and NFL luminary Ahmad Rashad has chops of her own now. She's starring in 'Romeo and Juliet' on Broadway.
NEW YORK — When Condola Rashad was a little girl, her mother would often take her to work. The youngster would sit and play or watch curiously as the woman she called Mom scurried about her job.
It was similar to the experience of many children, with one difference: Rashad's mother is Phylicia Rashad, who played mom Clair Huxtable on "The Cosby Show."
"She'd be super busy at rehearsal and I would be in her dressing room or somewhere backstage," Rashad said. "From as far back as I can remember, I would just sit right there and watch the process, not the red carpets and the glitz like some kids do but the work itself."
Condola Rashad is speaking from her own dressing room at New York's Richard Rodgers Theatre. The 26-year-old is a few hours from stepping on stage in her first Broadway leading role in one of the most famous plays ever written — as Juliet in the David Leveaux-directed revival "Shakespeare's Romeo and Juliet," opposite Orlando Bloom. Read more.
John Baldessari's most recent completed series of paintings on view at Garage in Moscow
MOSCOW.- The first exhibition of John Baldessari’s work in Russia, 1+1=1, presents the artist’s most recent completed series of paintings that offer a playful ‘double take’ on the canon of art history and continue his longstanding investigation into the tensions between text and image in art. Produced in 2011 and 2012, the works were created in four interconnected parts—Double Vision, Double Feature, Double Bill (Part 1 and 2) and Double Play. The exhibition at Garage is the first time a selection from all the Double series are seen together.
I think the idea of doubling for me issues from asking whether two things that look alike are really the same or if they’re different. It’s a mindset; some people think that one thing looks like another and others don’t. I like that sort of conflict. I play with it a lot. --- John Baldessari, July 2013
Working from traditional art history textbooks, Baldessari has selected masterpieces from the 18th to the 20th century by artists, including Chardin, de Chirico, Courbet, David, Duchamp, Gaugin, Hockney, Magritte, Malevich, Manet, Matisse and Warhol. In each instance, he gives the works a new lease of life by choosing a fragment and interpreting it as a complete image in its own right before ‘doubling’ or pairing it with a text that appears as a title. For example, works in Double Vision pair one artist’s name with a fragment of work from another well-known artist; Double Feature combines a fragment of an Old Master painting with a title from film noir; Double Bill juxtaposes images culled from two works, with one of the artists named below and the other not; and Double Play couples an image with a title from a song. Read More.
The Getty Villa's annual outdoor theater performance is part of an innovative theater program that enhances the visitor's experience of the ancient world. "Prometheus Bound," produced by CalArts' Center for New Performance (CNP), in association with Trans Arts, is the eighth annual outdoor theater production in the Getty Villa's Barbara and Lawrence Fleischman Theater, September 5-28, 2013.
When Efren Delgadillo, Jr. first began work on his MFA at California Institute of the Arts, he caught a performance of Baal, the Bertolt Brecht play. By the end of the night, he had flipped over both the play and the school. "I have no idea what it was about. I was totally confused," says Delgadillo. "I felt excited, but totally inferior."
That's something that Delgadillo likes to impart on his students now. "It's okay not to know what happened," he says. "It's an event and it affects you."
Delgadillo's job is devising a visual plan to suck you into the drama or comedy on stage. He does this professionally. He shares his knowledge in the classes he teaches at CalArts and inside the scene shop he runs at California State University Northridge. Most recently, Delgadillo is known as the set designer responsible for Prometheus' wheel in Prometheus Bound. In this latest version of the ancient play, the great Titan appears before the audience tied to a massive wheel, his sentence for passing fire along to humans. The unusual approach to Prometheus Bound has won praise from critics. In part, that's due to Delgadillo's work in creating the stage's centerpiece. Director Travis Preston brought him into the project in May of 2012 and Delgadillo has spent more than a year obsessively crafting the perfect wheel. "It's been a crazy ride. Amazing, but crazy," says Delgadillo. It also took 15 designs to get that wheel just right.
New book paints a loving portrait of the life and times of Roy E. Disney
David A. Bossert, a graduate of the prestigious CalArts Institute, a respected animator and producer/creative director of Walt Disney Animation Studios Special Projects, paints a beautiful, loving portrait of the life and times of Roy E. Disney — only on this work, he uses words and photographs, not oils — in his new book, "Remembering Roy E. Disney: Memories and Photos of a Storied Life" (Disney Editions, $22.99).
Although loved and revered by Disney fans worldwide, it wasn’t until his death in 2009 that a broader audience became aware of just how important and influential Roy E. Disney was to the company his father and uncle founded in the 1920s.
Much like the sport of sailing he loved so much, Roy E. Disney steered the Disney Company’s fortunes on more than one occasion, helping to navigate often perilous waters, while setting a clear course to help insure the company’s continued growth and stability. Read more.
There's an erudite quality to Julia Holter's meticulously arranged chamber-pop that extends to the subject matter that populates her songs. The CalArts composition program graduate based her first album, Tragedy, on the the ancient Greek play Hippolytus. Her latest record, Loud City Song, was partially inspired by Gigi, a French novella published in 1944. Luckily, Holter's serpentine art-pop remains accessible, even if you're not a Francophile with a penchant for Greek tragedies.
Touring behind her newest record—the first she has recorded in a studio with a group of collaborators—Holter was accompanied by a four-piece band that included a saxophonist and violinist. Smiling slyly from behind her keyboard, she lead the group through intricate compositions peppered with playful flourishes. At times, it seemed as if she was guiding the group with the rise and fall of her voice, allowing each syllable to dictate the staccato cadence of tracks like "Marienbed" and "In the Green Wind."