Rocket Man Blasts into Vermont

Sir Elton John is about to cross Vermont off his list of states in which he hasn't performed, and some fans waited all night for tickets. FlynnTix Box Office staff predicted today would be the largest onsale in the box office's history.

John, 61, and his band will play the Champlain Valley Exposition's grandstand in Essex Junction on July 21 as part of the Rocket Man • Number Ones tour, and he'll perform his greatest hits as well as more recent songs.

In a news release Monday, David Grimm, general manager of the Champlain Valley Exposition, called Sir Elton the "biggest name in entertainment to play at the Exposition in our 87-year history." John is continuing the fairgrounds' recent habit of hosting music giants, following Paul Simon in 2006 and Bob Dylan last year. [excerpted from the Burlington Free Press]

Eager fans began queueing up for tickets as early as 5:30 last night, camping out under the Flynn marquee and on Main Street sidewalks, in a festive line that snaked down St. Paul Street, to the King street intersection, this morning.

“This will be the biggest name in entertainment to play at the Exposition in our 87-year history and we’ve had some very big stars play in the Coca-Cola Grandstand over the years,” Grimm said. “This is going to be a night to remember. A chance to see someone of this legendary caliber playing in Vermont doesn’t come around very often.”

Concert promoters noted that with the July 21 concert, Sir Elton will have played in all 50 of the United States. “We’re honored to have that distinction,” Grimm added.

Elton John and his band—including members Davey Johnstone on guitar, Guy Babylon on keyboards, Bob Birch on bass, John Mahon on percussion, and Nigel Olsson on drums—will play his greatest hits and more recent songs from his latest release, Rocket Man • Number Ones. Elton John has sold more than 200 million records and continues to add innovative work to his personal repertoire of 29 consecutive Top 40 hits, 35 gold, and 25 platinum albums. Rocket Man • Number Ones, released in March 2007, debuted in the top 10 and features newly compiled and digitally mastered greatest hits spanning the first three decades of the singer-songwriter’s career.


Burlington fan photographs by Gloria Ormsby, Flynn Director of Information Systems, and Lani Stack, Flynn Marketing Manager. Both Glo and Lani lost their (non-monetary, bragging-rights only) "wagers" for when fans would begin queueing outside.

Site-Specific Show Brings Surprises

posted by Leigh Chandler
Flynn Marketing Director



Several Flynn staff members had the opportunity to preview advance performances of Back to Back Theatre’s small metal objects at the Association for Performing Arts Presenters’ national conference in January, held in New York City. The Flynn Center will bring the Australian theater company to South Burlington’s University Mall on Saturday & Sunday, May 17 & 18, at 12 & 4 pm for four site-specific performances. The 4 pm performance on Sunday will be audio described and will have ASL interpretation.


Getting to the Whitehall Ferry Terminal in Manhattan was pretty easy. Figuring out where the Whitehall Ferry Terminal is wasn’t. Having grown up outside of Manhattan, I knew the Staten Island Ferry Terminal as The Staten Island Ferry Terminal—a not-so-clean place to buy candy for the short trip over to Staten Island. It’s now a glorious, light-infused building that must be a joy to relax in while waiting for the next ferry. My trip, though, was different than most. I was going to the Whitehall Ferry Terminal to see a performance of Back to Back Theatre’s small metal objects.

It was a typical Friday evening at the ferry terminal. There was the hustle and bustle you’d expect at 6:30 pm. I got my ticket for the performance and walked around. The huge departure hall had a few rows of seats spread out lengthwise for travelers awaiting departure; a restaurant, advertising cheesecake and mochas; and a small convenience store packed with people buying magazines, water, and snacks. In front of me, though, was a raised platform with 10 rows of seats, arranged like bleachers. Each seat had a headset. The audience would be seated soon.

I was excited for this performance—the Flynn Center is bringing it to Burlington, and I was anxious to preview it. I didn’t know too much about it, other than that it will take place at University Mall in May, and that it’s a mysterious transaction that two friends get caught up in. How would the throngs of people coming and going play into the performance? Could I concentrate? Would I be bothered by people in my sightline?

Finally, show time. Others around me—people who I assumed were waiting for a departing ferry—rose up and handed in their tickets. “Don’t be shy of the first row,” said a ticket-taker. “They won’t come near you.” I resisted despite the reassurance. I took my place in the middle of the second row, and chatted briefly with the person next to me. After confirming that our headphones worked, the show began.

I didn’t know where to look. I heard music, but I also heard people talking. The ferry terminal was so busy, but I knew they were out there—somewhere. And then I realized that people are looking at ME. They’re looking at everyone on this bleacher-type stage. I’m listening to two people talk, through my headset; the performance has started. But people on the floor are coming up and snapping photos of us on their cellphones as they await their ferry departure. I can’t hear what they’re saying, but they don’t even really appear to be talking to any of us in particular. I decide to try to ignore them, but I’m still a little stunned—I didn’t expect to be the entertainment.


I’ve found the performers. It’s been about five or 10 minutes and I now see them walking toward us. They’re practically the only people in the terminal ignoring us. They’re having a conversation, and I want to hear it. No one else in the crowd seems to notice them, but everyone in the audience is watching them. I’m starting to get involved in their conversation when it happens: a man, seemingly homeless, but definitely drunk, comes up to the stage. He’s standing about five feet in front of me and I’m grateful I didn’t listen to the ticket-taker about sitting in the front row. He speaks loudly, but his words are slurred and jumbled. He starts to belt out Amazing Grace. As he sings he gestures widely; he’s pleased to have an audience. I try to hard to concentrate on what I hear in my headphones, although the person sitting next to me is laughing. The action of the performance is heating up—another actor has joined the two others. I try harder to concentrate. I can’t help but smile when the drunk man moves into It’s Now or Never, by Elvis. I didn’t know what—whom—to watch. My gaze goes back to the actors, but when the drunk man finishes his song, he begins a monologue. Looking at us, lifting his arm up in the air, he slurs, “Let me tell you….” I can’t make out anything else he says. I start to wonder if he’s part of the performance. But the play is continuing; the story keeps moving, and this man is oblivious. I think he just has no idea why we’re there, but because we are, and we seem to be looking at him (at this point he’s directly in my sightline), he’ll perform.

After about another 10 minutes I’m able to really refocus on the play. It’s interesting and I start to get angry at the drunk man since I really want to keep up with what was happening. I’m able to block him out and I get caught up in the story. I don’t even really notice the hordes of people in the Ferry Terminal looking at us anymore. A fourth actor has been introduced and it’s getting tense. I’m drawn in. I’m watching a stage that’s not a stage. I’m the one on stage, but I forget. I’m watching something unfold in the crowd, the way that my conversations unfold when I’m with friends.

The drunk man finally sits down. Someone in the crowd has given him some juice and a bag of potato chips. We all relax a little, but the play ends shortly after. Miraculously, the ferry terminal has cleared out, and the four actors approach the audience. They bow, and they gesture over to the drunk man to bow.

I’m charmed. I can’t wait to see it again, this time at University Mall. I wonder if they’ll bring the drunk man.


photographs by Jeff Busby for Back to Back Theatre

Fans Flock to Flynn for Jonas Brothers

posted by A.J. Fucile
Flynn Box Office Manager



When a show goes on sale for the Champlain Valley Fairgrounds, it’s always an event in itself. The venue holds approximately 10,000 people, and national acts play there every summer during the week that leads up to Labor Day. So the date that a show goes on sale is always exciting.

The latest show to go on sale was The Jonas Brothers, which went on sale this past Saturday. When I received the phone call informing me of the event, I had to ask who they are. I was told that the demographic for the show was teens aged 13-17, and that they were currently one of the largest acts in this genre. A quick Google search turned up their home page, and I checked their summer tour dates. “Amphitheater” was a common word in the venues they would be playing, and once I saw Madison Square Garden listed, I knew this would indeed be popular. Before the event had even been announced officially, I started to receive emails and phone calls inquiring about the event. Another sign that this would be big.

So I began doing all of the things that need to be done when setting up an event. The main twist with this one was that there would be a thrust stage extension that cut straight through the audience, leading to a “mini-stage” right in the middle of the Gold Section. We’ve had similar set ups before, but for popular country shows, not a teen event. It was decided that standing room towards the front would not work quite as well for this audience, so the event coordinator at the fairgrounds sat down with me and we carved out which seats would be sold, and which would be held back to make room for the stage.

Tickets went on sale when we opened at 11 am. I arrived at the Box Office approximately an hour before that, and immediately headed to the front doors to see what size line we had, and to let people into the lobby and out of the cold. As soon as people saw me coming towards the door, they let out a large cheer. The mood was definitely festive. I unlocked the front door and asked the woman who was first in line what time she had arrived. “6:30 last night!” I told her she should be a candidate for parent of the year! I unlocked the doors and asked people to line up at the window and to circle around the kiosk in the center of the lobby. I peered at the street outside and saw lawn chairs, thermoses, and vans full of people parked at the meters lining the sidewalk. In less than a minute the entire lobby was packed. I took a moment to run through some of the information regarding the event (ticket limits, the stage set up, etc.), fielded questions, and headed to my office.

The surge at 11 am was huge, as expected.

Our website was slow, which is not uncommon when hundreds of people at the same moment attempt to purchase the best seats in the venue. We had our IT staff on site, and we noticed that we were being bombarded by large requests from a few specific locations outside our state. Automated programs were trying to secure seats that would eventually end up on secondary sales sites. And at the rate they were doing it, our systems slowed. We kept up with the orders as best as we could, and did our best to block any automated programs from obtaining seats. At noon, I noticed systems started improving almost instantly. My presumption is that the automated ticket programs had been programmed to hit our site hard for exactly one hour, and when they stopped, normal traffic had an easier time getting through. We continued filling orders through the afternoon. The first sign that the majority of the rush has passed is when we received our first non-Jonas Brothers ticket order. We breathed a collective sigh of relief in the Box Office—we had staff from multiple departments alter their schedules to pitch in and make the day a success, despite the incredible demand! It was an excellent example of team work, and made me proud of my staff and coworkers.

Even though there is still snow and ice on the ground, summer isn’t as far away as it seems. Tickets purchased in advance of the show date include free gate admission to the fair, a $10 value. Don’t miss out on the other shows coming to the fairgrounds this summer! See you there!

photograph of the Flynn ticket window by Steve Mease

N.A.S.A in the Funnies

Burlington comic extraordinaire and participant in Rachel Siegel's N.A.S.A. dance piece James Kochalka cleverly recalled a recent rehearsal gone arwy in his blog American Elf:

Kochalka, Siegel, and other parents will dance with their children in an informal FlynnSpace showing on Sunday, April 13 at 4 pm.

Thanks to James Kochalka for letting us repost Ice Dance! Check out his comics every day at American Elf and every week in the print editions of Seven Days!

A Wild Ride

posted by Rachel Siegel
Siegel is one of two current N.A.S.A. grant awardees. She will be blogging about the progress of her work in progress, leading up to an informal showing on Sunday, April 13 at 4 pm.


I’ve been sick for the past 11 days. I’m much better but far from healthy. Blech. I’ve managed to muddle through the group rehearsals but cancelled my solo work. I’m really hoping to be back in the studio this week.

Yesterday I got together with a group of kids at the Rose Street Artists’ Coop. I wanted photos for the marketing that the Flynn is doing, so we tried a couple of ideas I’ve had in my mind and got some pretty fun pictures. First we practiced having the kids literally run, en masse, over my prone body. Then, as a group, they physically lifted me up and carried me away. My choreography is not subtle, I know.

I really do feel bulldozed and trampled by my kids on a daily basis and, sometimes immediately after, feel uplifted by them to an extent that is too corny to write. It’s a wild ride.

My next rehearsal with the Stars is going to be our first full group rehearsal with kids in the mix. I can’t wait to see how they disrupt the choreography and what they add to it. I know some people have been practicing with their kids at home. Other kids will be seeing it for the first time. It will be chaotic if nothing else! Let the experiment begin.

Coming Together

posted by Joy Madden
Madden is one of two current N.A.S.A. grant awardees. She will be blogging about the progress of her work in progress, leading up to an informal showing on Sunday, April 13 at 4 pm.


Lida has joined us and we are now a complete set. She will be dancing in the second section, a trio. The two of us met for rehearsal on Sunday while Autumn was on vacation. We all met (Lida, Autumn, and I) for the first time on Wednesday. I'm very pleased with the piece so far. It was great to see both sections coming together. I'll spend today reviewing the rehearsal tape and making any changes before meeting again on Sunday.

I'm meeting with Peter, my sound guy, on Saturday. We'll work together to incorporate audio from interviews with my daughter with music for the piece. I'm excited to hear how all this turns out. By the way, he has a radio show from 11 am to noon every Tuesday on 105.9, highlighting Vermont musicians called Audio Radiance for the Radio Audience (love the name).

Overall, I'm feeling really good about it. I still have the occasional panic attack, but that's to be expected.



photographs by Autumn Barnett

Autumn Springs into Action

posted by Joy Madden
Madden is one of two current N.A.S.A. grant awardees. She will be blogging about the progress of her work in progress, leading up to an informal showing on Sunday, April 13 at 4 pm.


Things are really starting to come together. My finished piece will be an evening-length work with several vignettes. For the April 13 showing I am focusing on two sections. The first is a duet which I have been working on with my dancer, Autumn, for the past few weeks. The second will be a trio. I'll be meeting with a new dancer this week. We are all recovering from various illnesses and will hopefully be 100% soon. Autumn was a trouper last week, spinning and jumping through rehearsal at the tail end of the flu.

I've been gathering a lot of material for many weeks now. Interviewing my 3-year-old daughter and going through hours of audio has been both time consuming and delightful. As I said before, this is the most fun I've ever had, but it's without a doubt the most challenging. Not the least of which has been trying to read my own journal entries—yikes. The practice of writing every morning for the last several years has done a number on my handwriting. It's been a long slog. But hey, it's for art.

Staying a Step Ahead

posted by Rachel Siegel
Siegel is one of two current N.A.S.A. grant awardees. She will be blogging about the progress of her work in progress, leading up to an informal showing on Sunday, April 13 at 4 pm.


These dance rehearsals are the highlights of my week. I am so happy to be making art again. What a relief to get out of the minutia that makes up most of my time in charge of little kids and a household.

Here is some of what I’ve been working on:

I wanted to get away from the hierarchal feel of the two groups being called A and B, especially since the A group was the group with more dance experience. So they are now called the Stars and the Moons. (Then it was pointed out that “stars” has a connotation of fame….) Each group is fabulous to work with. They’ve learned almost all of the movement vocabulary and we’re working hard to iron out the details of how to make the phrases work in a round. The spacing and the timing need to be just right for it to work. Working with the Stars is challenging since most of them have not done this kind of work before and learning to use peripheral senses (vision, sound, “group sense,” inner clock) takes a lot of practice. Working with the Moons is hard because it’s a little content heavy. Since I’m really interested in the relationships we can represent using the dance phrase, not the phrase itself, we’d be able to represent a lot more variations with less content. Too many variations on a three-minute theme and we’ll end up with a five-hour showing. Yikes.

I’m trying to stay a step ahead of the participants and have been working out what I consider to be the “collage” part of the choreographic experience. That is, I’m coming up with the exact variations of how the dance phrase will be done (e.g., James and Winnie in unison upstage simultaneously with Laura and Kirsten in a round downstage, everyone in chaos, everyone in unison except one person, etc.) and then stringing all the parts together. In another week I’m going to actually teach this sequencing to the participants. It’s hard to believe I’m that far along in the process already.

Dance for Change

posted by Joy Madden
Madden is one of two current N.A.S.A. grant awardees. She will be blogging about the progress of her work in progress, leading up to an informal showing on Sunday, April 13 at 4 pm.


I was awarded the N.A.S.A. grant and I’m very excited to be creating my first dance in Vermont. I moved to the area last May and had my second child in July. My family and I have spent the last several months navigating through these changes and many more. I am collaborating with my 3-year-old daughter in a study on change. The challenge is to see our changing world through her eyes instead of just my own.

I have been interviewing my daughter for several weeks and will continue to do so throughout the process. These conversations along with my journal entries from the same time period will inform the movement. So far, my concept of what the piece will be has changed wildly as I attempt to map the mind of a preschooler. It has taught me a lot about stepping back and letting the dance show itself. This is the most fun I have ever had making a dance. The dance/theater piece will combine spoken word, music, and movement.

Rehearsals have begun with one (very talented) dancer. I may be looking for at least one more dancer to perform at the April 13 showing at FlynnSpace. I will post any audition notices here.

Jazzed by Jazz Masterclass

posted by Alexander Stewart, Ph.D.
Associate Professor, Department of Music
University of Vermont


Dr. Alexander Stewart sent the following note to the Flynn's artistic director, Arnie Malina, after a special FlynnArts Piano Masterclass with jazz pianist and composer Jason Moran, part of Moran's residency activities while in Burlington. Moran's visit culminated in a thrilling MainStage performance of Milestone, a theatrical, multimedia jazz suite inspired by the work of conceptual artist Adrian Piper.

Dear Arnie,

Thanks for making the Jason Moran event happen! My students were enthralled, fascinated, challenged by the masterclass. Talk about thinking outside the box—Jason had them (and me) hearing and thinking about music in a totally new way. How often does that happen? In my experience, only a few times in one's life!

Many of the students also attended the concert and I have heard nothing but raves for him and the group.

This is the kind of thing that makes jazz feel young again—something that happens only too rarely these days.

We all express our deepest gratitude to you and the others who made this possible.

Sincerely,
Alex Stewart

--
Alexander Stewart, Ph.D.
Jazz Studies/Ethnomusicology
Associate Professor
Department of Music
University of Vermont

Choreographing Life While Creating Dance

posted by Rachel Siegel
Siegel is one of two current N.A.S.A. grant awardees. She will be blogging about the progress of her work in progress, leading up to an informal showing on Sunday, April 13 at 4 pm.


I have created the bulk of the dance material that I need, recruited participants, scheduled rehearsals, and I’m ready to roll.

It’s been a lot of organizing lately and I’m really excited to get back to the dancing. Particularly, to see what happens when I actually try to do each of the phrases with the two different groups. This Friday, Group B (the “no-experience-necessary group”) is dancing. In a week from that, Group A (the more technical, experienced group) will meet. I have 15 participants confirmed and another half dozen or so that are likely. This makes me happy. I wasn't sure I'd be able to get as big a group as I wanted, and I’ve already exceeded my hopes.

It’s an extra organizational challenge because I’m offering childcare to participants. We’ll be dancing in one studio while the kids play in another one. It’s the only way many of the participants are able to come solo. Usually in my life, I’m involved with things that kids are welcome to. However, it would not work to do the “before and after” idea that I have for the dance if kids were present for the earlier “before” rehearsals. (They’ll join us part way through the process to shake things up.) I’m currently trying to get an accurate count of kids who will be there so I can get an appropriate number of childcare providers. I don’t want to get too many providers or I’ll be shelling out money needlessly. So, I haven’t been focused on the physical dancing so much the past couple of weeks.

Luckily, I did get to the Modern III dance class at the Flynn last week and loved it! And I’ll be in the studio again on Thursday, to work on some solo material I started the last time I was there.

Mother, May I Dance?

posted by Rachel Siegel
Siegel is one of two current N.A.S.A. grant awardees. She will be blogging about the progress of her work in progress, leading up to an informal showing on Sunday, April 13 at 4 pm.

LOOKING FOR COLLABORATORS:
I was awarded a N.A.S.A. Grant from the Flynn Center and am thrilled to be working creatively again. The piece I’m making is about life before and after becoming a parent. I would love to have more people involved. There is room for people with no performance experience as well as experienced dancers/performers.

THE PROJECT:
The main portion of the project is a movement sequence that can be done by a group in unison or as a round. When done in a round, if the movements are done in close proximity to one another, they fit together intricately like a puzzle. If they are done close but not just right, the movements collide. It is a representation of my experience going through life—sometimes I felt like I was part of harmonic experience and sometimes quite the opposite.

Next, in the performance and in my life, come the kids. After learning the movements with other adults, we will try to repeat the choreography with the kids that some of us have—in slings, backpacks, holding our hands, copying us, attached to our legs, asking to borrow the car. It will obviously change things. I’m curious what will stay the same, what will be improved, and what we will have to give up.

Modern dance is often off-putting to viewers who feel like they “don’t get it.” I aim for transparency in my work and want to find ways to make dance more accessible to audiences and to participants. I have historically worked mostly with “non-dancers” believing that anyone can dance and that performing can be transformative for all. I plan to create two performances following the outline above—one with more pedestrian movements and one more technical. I am interested in seeing if the experience as collaborators will be the same in each group and if the work will read the same to the audience.

THE SCHEDULE:
I have spent the time in the studio the past couple of months choreographing the two movement phrases. I am ready to start rehearsing with adults. If you are interested in being involved, please email me at fsiegel@hotmail.com. Rehearsals will be minimal and childcare will be available on site for those with young ones. There will be a work-in-progress showing at the Flynn Center on Sunday, April 13.

The next New Art Space Assistance (N.A.S.A.) Grant deadline is Monday, April 7. This grant provides Vermont artists, working locally, with the development time and space in which to engage in process and thus to create new and meaningful work. NA.S.A. Grant awards include six hours of creation time per week for 10 weeks in either the Chase Family Dance Studio or the Hoehl Studio Lab and an opportunity for an informal public showing of the new work in either of the two FlynnArts studios or in FlynnSpace. Potential applicants can download a N.A.S.A Grant Guidelines & Application Packet. To receive the N.A.S.A Grant guidelines and an Application in the mail, email slowell@flynncenter.org or call 802-652-4537. Please provide your name, mailing address, phone number, and email address.

Strings Attached

Burlington Free Press' weekend edition featured a story about two puppet shows at the Flynn this month: The Salzburg Marionette Theater performing The Sound of Music on the MainStage Tuesday, November 27, and the recent weekend performances of The Viva La Voce Puppet Opera's Die Fledermaus in FlynnSpace.

Free Press Staff Writer Brent Hallenbeck writes: "The highly regarded Salzburg Marionette Theater is coming to Burlington at the end of the month. The Austrian company has performed The Nutcracker, A Midsummer Night’s Dream, and several Mozart operas, but only recently tackled The Sound of Music, the famous Rodgers and Hammerstein musical set in the Salzburg Marionette Theater’s hometown. The production made its world premiere Nov. 2 in Dallas and is visiting six other American cities before arriving in Burlington.

"Not only is Salzburg Marionette Theater producing a musical set in its homeland, it’s also bringing the production to the current homeland of the von Trapp family, whose escape from the Nazis is at the center of The Sound of Music. The von Trapps settled in Stowe after fleeing Europe. The youngest child of Maria and Captain von Trapp, Johannes, is owner of the Trapp Family Lodge just outside Stowe.

"He said he has seen various versions of The Sound of Music about a half-dozen times.

"'It’s always a complicated affair,' Johannes said of watching his family’s story play out. 'It’s not a simple enjoyment kind of thing. It brings all sorts of feelings back.'

"He will be attending the Salzburg Marionette Theater performance with his daughter and her 4-year-old daughter; he plans to find his enjoyment by watching the performance through his granddaughter’s eyes."

To read the entire story, visit the Free Press' website.

For a review of The Viva La Voce Puppet Opera's Die Fledermaus, read Penelope Wall's wonderful post-performance blog post.

Sara Felder's Jugglefest!

posted by Chris Ilstrup
Flynn friend

Chris Ilstrup, husband of former and much-missed Flynnie Christopher Kaufman Ilstrup, submitted his thoughts on Sara Felder’s Jugglefest! workshop. The FlynnArts workshop was part of Felder's week-long Flynn residency, which culminated in three sold-out performances of her one-woman performance, Out of Sight: A Blind Comedy that Juggles Faith, Israel, and My Mom.

Sara Felder, comedian and juggler, taught a two hour juggling workshop at the Flynn Center on Saturday, November 10. I was lucky enough to take the class and, as she promised, I can now juggle. Here's video proof.

There were all types of students, older, younger, male, female. Three of the participants were accomplished jugglers. And teenagers. Sara was able to teach them some new tricks, a juggle called Mill's Mess. They were as surprised as she was that she was able to teach them the trick in two hours.

Five newbies were in attendance (including the Flynn's own artistic director, Arnie Malina) and Sara started us out easy: One scarf. Up and Down. Up and Down. Then we added a second. Up and across, up and across. Then a third scarf and it looked like juggling!

Next were balls. One ball, two balls, and then, the third ball. Look at us, we can do this! We all took a chance to show off the skill we had learned and everyone got a round of applause.

Thanks to the Sara Felder and the Flynn Center, I am now available to perform at weddings, bar mitzvahs, and birthday parties. Well, maybe not just yet….


Will Ilstrup take his act on the road? Find out—visit his own blog, Inside Chris.



...Arnie adds:

I took my first juggling class with Sara Felder at the Flynn. Since I think of myself as terribly uncoordinated, and my mind usually interrupts challenging flights into space like juggling three balls, I was happily surprised how much I enjoyed Sara's class.

Like Chris said, she started us off with scarves of many different colors. It was an upper and lower body workout, moving your hands fast enough to throw one scarf up in the air while catching the other two at the same time—and remembering which hand to catch which scarf, right brain, left brain, comedy in motion. But after some practice, I got it to work, and had a ball. Same with the balls. Realizing one side was easier to start with than the other, I practiced my weaker side, which was courageous and liberating. I made some progress. And then my mind went blank. By then I had been working out for nearly an hour and a half and my hand/eye/left brain/right brain coordination started lagging—my mind was overloaded.

I took a rest. I did it again. I did it still yet gain. I remembered. It became intuitive. I did it without remembering, and there were three balls in the air. It was magic.

Phishy Anniversary at the Flynn, Part II

posted by Lani Stack
Flynn Marketing Manager, Editor

In April, I blogged on a Phishy Anniversary at the Flynn, in commemoration of the 10-year anniversary of a special Phish benefit concert for Lake Champlain during which Ben & Jerry's debuted its decadently delicious Phish Food. This past spring, the Vermont sweetailer was offering three special online downloads of the show to customers. Now, the concert downloads are available to everyone!

According to the LivePhish.com site, "These four, previously-unreleased selections comprise a special audio download EP.... These selections were compiled and mastered from the soundboard reference tapes to celebrate the 10th anniversary of the 3/18/97 Benefit for Lake Champlain and launch of Phish Food ice cream.

"This special show at Phish's hometown Flynn Theatre marked the worldwide debut of the new ice cream flavor and the beginning of Phish and Ben and Jerry's combined efforts to harness the magic of music, ice cream, and local synergy to clean up the Lake Champlain Basin. More than a decade later, royalties from Phish Food still fund The Waterwheel Foundation which the band created to support Lake Champlain cleanup efforts."


Selections include:

• Ben & Jerry Intro by Ben Cohen and Jerry Greenfield (preceded the start of the show)
• Cars Trucks Buses with Dave "The Truth" Grippo on alto saxophone and James Harvey on trombone
• Phish debut of I Told You So, with Tammy Fletcher on vocals

Phish Archivist Kevin Shapiro posted a wonderful, 10-year retrospective essay about the show, recalling the collaboration between the band and Ben & Jerry's, the Flynn Box Office's heroic ticketing efforts, and prior Phish concerts at "their hometown theater." Check it out!

photographs of Phish at the Flynn from LivePhish.com

Can't Beat Global Drum Project

posted by Lani Stack
Flynn Marketing Manager, Editor

We love to hear feedback about our shows, and so I was especially pleased to find the following blog post from a patron who attended Saturday's performance of Global Drum Project.

Brameltunes writes:

"I went out and caught the Global Drum Project at the Flynn last Saturday night. The sampling of international drummers was excellent (Mickey Hart, Zakir Hussein from India, Sikuru Adepojo from Nigeria, Giovanni Hidalgo from Puerto Rico)—and they were unbelievably skilled."

Read the entire post

I happen to know that Brameltunes is a talented musician who frequently performs in Burlington area hotspots, so we especially appreciate his expert comments!

VSA Audiences Write In

As part of our community outreach programming, the Flynn is delighted to have a strong partnership with VSA Vermont, the Winooski-based branch of the national organization dedicated to making the arts accessible to people of all abitlities. Part of this partnership includes ticket vouchers to select Flynn performances.

VSA Vermont recently passed along some wonderful emails from patrons who attended two of our recent MainStage performances, Ballet Folklórico de México on Thursday, October 4 and Weston Playhouse's "Master Harold"... and the boys (and the related pre-preformance lecture) on Friday, October 5.


Following the Ballet Folklórico de México performance, the mother of a son with a disability wrote:

"I heard glowing reports about the show this morning. My 11-year-old son, Jack, said he loved it, 'especially all the foot stompin' and costumes and music and the big paper mache heads.' Our thanks to you and the Flynn for making this opportunity possible. The performance deepened my son's excitement for Spanish, a language and culture he's studying in school. The event also provided my husband a chance to share an enjoyable music-alicious evening out with this darling little boy. The ticket stubs from this memorable night out are definately scrapbook worthy!

"!Viva La Artes!"



A patron who attended "Master Harold"... wrote:

"I'm very glad to tell you about my experience Friday evening at the Flynn seeing the Athol Fugard play, 'Master Harold'...and the boys.

"I took a friend with me who has MS, and we met for the presentation before the play in the Tarrant Gallery. One of the three producers spoke eloquently of the playwright, the play, the historical setting, and previous productions of the work. I had often heard the name Athol Fugard, but had never seen any of his plays. The speaker told us about Fugard's own childhood in South Africa and explained that the play was really autobiographical.

"At the actual play, the stage had a box setting of an English Tea Room on a rainy day. There were only three characters in the play—two black men who worked in the tea room and a white youngster, 17, who was the owner's son. What a performance! Within moments, my friend and I were transported to the locale, the times, and the story unfolding in front of us. The actors were excellent, flawless. At the end, the audience gave them a standing ovation, a long one.

"My guest and I talked a long time after the play, commenting on how much the pre-play talk helped us to understand better what was happening, amazed that three actors could remember all their lines in a play that went on without intermission with complete attention in the theater the entire time.

"Thanks so much for sending me the vouchers."


For more information about VSA Vermont, visit http://www.vsavt.org/ or email info@vsavt.org.

For information about the Flynn's commitment to accessibility, visit www.flynncenter.org/about/access.shtml.

Critical Acclaim

The current issue of Seven Days turns a critical eye to two plays at the Flynn this week.

Theater reviewer Erik Esckilsen says of American Machine, "...the play has an immense heart," "compelling working-class agitprop drama," and takes "a mighty swing at a formidable topic."

He writes that actor Seth Jarvis' portrayal of Ipsy is "touching" and one that shows us, "that a single character, deeply explored and well-portrayed, can speak movingly about the general 'us' by confronting the particularities of his individual condition."

Read the full review in this week's Seven Days.


Feature writer Elisabeth Crean takes a look at Weston Playhouse's touring production of “Master Harold” . . . and the boys, arriving on the MainStage tomorrow night.

"Great theater reaches across the footlights and elicits a visceral response," she writes. "This genuine stage magic is infrequent. But occasionally the alchemy of writing, acting and subject matter is so electrifying that no one experiencing it can remain a detached observer." Crean recalls how Athol Fugard’s autobiographical masterpiece "grabbed me by the throat when I first saw it 25 years ago," as a college freshman at Yale.

The play examines the changing relationship between a young white boy, his friends, and his surrogate father—a black man—at the height of South African apartheid.

In writing her story, Crean discovered that the Fugard's powerful message about racism still resonates today.

"In 2007, the play continues to connect with young people," she writes. "Weston’s 'Master Harold' received an 'overwhelming response,' says [Weston Producing Director Steve] Stettler, from its school matinee audiences—numbering more than 1,000 middle and high school students. He found that the kids readily identified with teen protagonist Hally. [Actor Guiesseppe] Jones believes “the student audiences were some of the best audiences... They get that these three guys have a wonderful relationship, and that it goes askew... And I think that’s the heart of the play.”

Crean conclude with the advice that "Readers should be skeptical of anyone christening something a 'must-see.' But there is a stunning moment toward the end of 'Master Harold'—and if you see it, you’ll know exactly which one I mean—that I can picture as clearly today as when I saw it a quarter-century ago. Fugard taught me something about myself, about how strongly I feel. It’s a rare moment in theater, or in life, that does this, and it’s one I still cherish."

Read the full preview in this week's Seven Days.

Ben Harper Rocks the Flynn!

posted by Lani Stack
Flynn Marketing Manager, Editor


As one of Northern New England's largest performance venues, the Flynn occasionally has the opportunity to rent out our historic Flynn Theatre to other performing arts presenters in the community (on nights which we don't have our own shows, of course). One such partnership is with South Burlington's Higher Ground, which has brought major headline performers such as Ani DiFranco and Feist to the Flynn's own MainStage in the past year. Last night, Higher Ground presented Ben Harper and The Innocent Criminals at the Flynn—hot on the heels of Harper's sold-out performance at NYC's Radio City Music Hall on Saturday and a studio recording for Late Night with Conan O'Brien (to air tomorrow)—and Burlington couldn't have been more excited.

The sold-out show was everything I expected: Harper's powerful, eloquent, and familiar lyrics blended with his masterful playing on the electric, acoustic, and slide guitars, as well as the piano; the excited energy of friends and fellow Harper fans nearby lent an added charge to the air. There was some dancing, (I glanced behind me several times to watch my friend Janet boogying in the first row of the balcony), and a little hollering, (after several fans shouted out song requests, one magnanimous patron shouted "Just play what you want, Ben!"), but the crowd primarily just sat back and appreciated the man, his band, and their talents. (See the Burlington set list.)

Always the gentleman, Harper was nattily dressed in a tailored gray three-piece suit, and his talented five-member band was equally swanky in suits and hats. He spoke with a quiet, serene voice and seemed truly appreciative of the audience's enthusiasm. As my friend and colleague Flynn Box Office Agent Chaim Rochester said today, "I was impressed with his level of humility and grace. It's nice to see that still happens."

Harper interrupted the show at least four times to praise the Flynn's historic Art Deco decor—enthusiastic and charming observations that I found particularly profound, as I also love and am awed by this spectacular space. Visibly wowed, he memorably asked his lighting crew to swing the stage lights out into the concert hall "so I can see this beautiful theater," adding, "There aren't many like these left any more." He also pointed out details such as our large, restored Art Deco facades, which flank the stage. His own simple set of lighted chandeliers was the perfect complement to the Flynn's elegance.

The showstopper, and the piece which cemented my own appreciation for Ben Harper, was his heart-wrenching a capella solo of Where Could I Go, sung without a microphone! Every person in each of the theater's 1,453 seats fell silent, breath held, before erupting into a standing ovation upon his completion.

I think everyone who attended last night's show will join me in this invitation: Ben, you can always come back to Burlington!



all photographs surreptitiously taken (sans flash, of course) by Lani Stack

We Work Hard and We Play Hard

posted by Lani Stack
Flynn Marketing Manager, Editor

Many of us who work for the Flynn not only love to watch the performing arts but also delight in taking the stage ourselves. We have talented actors, musicians, dancers, and multi-media artists on our administrative, Box Office, and facility staff—as well as folks who moonlight for community arts organizations as directors, stage managers, and videographers. (We also have several visual artists and crafters!)

I occasionally hear word of performances, exhibits, and other events in which my fellow Flynnies participate; however, I was still stunned to see a prominent photo of my friend and colleague, the lovely Odele Peter (Flynn Development Database Coordinator), upon opening Sunday's edition of the Burlington Free Press. The photo outed Odele as a contestant in Red Square's Air Guitar Hero contest, held September 13. (See Odele and her Addicted to Love bandmates strum their stuff.) Did they claim the prestigious Air Guitar Hero title? Sadly, no. "We got disqualified because Rachel (in center) works at Red Square and helped organize the contest," explains Odele. "We cried foul, however."

Odele rallied from her disappointment in time to dress up and smile widely for her role as a glamorous Wine Auction Hostess at the Flynn's Fine Wine and Food Festival at Shelburne Farm's Coach Barn on Sunday afternoon. I'll post photos from that wonderful event soon.

I've now worked for the Flynn for just over a year, and my colleagues never cease to surprise me. I look forward to discovering (and revealing) more about them in the year ahead.

Raves for Weston's "Master Harold"

Burlington writer and theater critic Dan Wolfe recently traveled to southern Vermont to see the opening of Weston Playhouse Theatre Company's "Master Harold"... and the boys, which will come to the Flynn's MainStage on Friday, October 5 at 8 pm, as part of Weston's New England tour and the Flynn's new "Identities" theater series.

Wolfe's subsequent review of the show in the Vermont Times-Sentinel was chock full of with high praise for this "outstanding performance." (Click on the newspaper clip below to read the full review.)

"If you think you can only go to see one play, one production, during this 2007-2008 season," Wolfe writes, "I tell you without any reservation that this is the play and this is the production of the play that you should see—indeed, must see."