Full Circle 2009: Voice & Vision Final Thoughts

 

Let me begin this last entry with a question: What makes art effective? This is a question that we struggle with all the time. After tossing around a couple different ideas, many of us land on something close to, its ability to impact its viewer. I hope that some of you will agree with me when I say that the best art will makes it’s audience think, or maybe even change in some way. In the end isn’t that the goal, to change people? We try to touch people in the hope of making them see something new and different, understand a new concept or idea, or change their view of the world. It is in these areas that I believe the artists involved in the Arts Access Program are the most successful.

Full Circle: Voice and Vision is a yearly event that allows the patients of the Matheny Medical and Education center a chance to showcase artwork that they have created as part of the Arts Access Program. With the help of professional artist facilitators they create artwork ranging from painting and sculpture to dance and live theatre.

After viewing the artwork displayed in the galleries and the performance that took place in the theater, I think you would be hard pressed to find someone who was not moved by the talent displayed by these artists. Many people, when they see someone with a severe disability have trouble seeing past it. All some people can see is the limp or the wheelchair or the speech impediment. What the Full Circle event was able to show the hundred plus people in attendance was that there is so much more to these people than some would expect. It gave us the opportunity to see the enormous creative soul in all of the programs participants and provided a medium through which they could communicate to us their feelings and views on the world.

The Arts Access program is designed to serve its participants. It is a creative outlet in an otherwise very regimented schedule of physical therapy and other programs. It is designed for the clients, but I believe that the work done in this program can affect others just as easily. That is the most exciting part about the program and the event for me.  I would encourage anyone to attend Full Circle next year to be a part of this amazing program. I would like to congratulate the staff of the Arts Access Program but most of all the artists on a wonderful evening, and I’m very excited to see what is on display at next years Full Circle: Voice and Vision.

Full Circle 2009: Voice and Vision Recap

On Saturday night, I had the pleasure of attending Full Circle: Voice and Vision 2009. Full Circle is a yearly event where the clients who take part in the Arts Access Program at Matheny Medical and Education Center display their talent for a packed house. Upon entry into this beautiful facility on Saturday,  many of the works created by clients all over the walls. As I turned the corner to enter the performance space I was greeted by masterpiece after masterpiece, some of which had already been marked as sold to event attendee. Much of the artwork is also on display on the Arts Access Program Website (www.artsaccessprogram.org).

The performance segment of the event began as Lyn Sanders, director of the Arts Access Program, took the stage to make her welcoming remarks. I settled in standing in the back. The feeling in the theater was one of excitement and anticipation. The performing arts portion of the event lasted an hour and was made up of a mix of dance, dramatic scenes, monologues and the occasional documentary style interview. I must admit that the very first piece, a documentary piece by Chris Saglimbene set the mood for the performance perfectly. In the piece he addresses what it is to be an artist with a disability, and very eloquently expresses something we’ve all felt. Chris explains, “When I [make art] it feels like a ton of rocks have been lifted off my shoulders.”

While the pieces ranged in tone and medium from a heartfelt and expressive dance to a clever monologue addressed to Father Christmas from his not so jolly wife Mrs. Claus, they all had a few things in common–not just the unique voices of the clients who created them, but their faces as well. These choreographers, directors and writers fearlessly took the stage and took part in their pieces, which really allowed the audience to know all the work, and passion that went in to creating them. They addressed a range of issues from the tackling the daily challenges of being disabled to simple stories about love and friendship and loss. At the end of the performance the clients and performers took their well-deserved curtain call.

After the performance there was a dessert reception during which I got the opportunity to talk with a number of people responsible for the night’s festivities. Between handshakes and numerous congratulations, a number of the Arts Access clients explained that while they were nervous, they were excited about the performance and very proud of the work that they had done.

They have every reason to be. I feel as though I got a chance to be part of something really special and I extend many thanks to the people at Metheny and Arts Access for giving me the opportunity to be a part of it.

Full Circle 2009 at Matheny Arts Access

Untitled, by Cindy Shanks, acrylic on canvas, 59" x 57", 2009

I think it’s fair to say that the one thing that binds artists together across all mediums in the creative impulse. This desire can be overpowering at times. I like to think that there’s something inside all artists that says, “I have to create this now, and share it with the world.”

Now try to imagine having that impulse, that vision in your mind, but being unable to physically create it. In addition to the normal and frustrating stumbling blocks that lie in front of creativity, there’s a series of perhaps greater, physical obstacles as well. The artists involved with the Arts Access Program know that feeling all too well.

Arts Access is an organization dedicated to assisting people with oftentimes-severe disabilities in the creative process. What began as small program designed to keep the clients at the Matheny Medical and Education Center physically and mentally active soon grew into something much larger. After seeing the response that many of the patients had to creating arts with the help of a small staff, Matheny Center decide to expand its  artistic offerings, bringing in more personnel and adding a large visual and performing arts facility. They now offer programs in painting, digital arts, sculpture, dance, writing, drama, and music composition. If you’d like to know more about the Arts Access program, please  check out their website at www.ArtsAccessProgram.org.

What really resonated with me when I spoke with Brian Pollack, the drama and creative writing facilitator, is how the program actually allows its clients to create some of the most incredible pieces of art with the help of a facilitator. The more I spoke with Brian about his experience as someone who works 1 on 1 with the clients the more I got sense of the bond formed between artist and facilitator. Each client works 1 on 1 with a member of the Arts Access staff to create their masterpiece. The facilitator’s role with each client is unique depending on the needs of the individual, but Brian explained that the usual method is to streamline everything down to a series of yes or no questions, and the client’s vision is expressed through the answers to these questions with the facilitator acting as the paint brush, or scribe, or actor, the client begins to see his or her artwork take shape. The event taking place tomorrow afternoon, Full Circle Voice and Vision, is a collection of all the work created by the clients through their facilitators.

The Full Circle event is an opportunity for these artists to see their artwork displayed professionally and hear the applause of the audience as they show a side of themselves to the world that they don’t often get a chance to display. As a person with cerebral palsy, I’ve had the experience of going through treatment and many rounds of physical therapy and rehabilitation. In going through this process, I’m sure you believe me when I say that there’s not much room for creativity. Days are very strictly scheduled and most times very physically taxing. But what most hospitals and treatment centers miss is the importance of self-expression and creativity in the treatment process.

I applaud Arts Access in their efforts and am very excited to see the art works and performances on display on Saturday. I hope you’ll consider joining us for the event.

Generation NEXT at ABBA Mania: Thank You for the Music

Polyester: The official F-ABBA-ric. Get it? Get it?

As a theater nerd through and through I kind of live for things like talk back sessions.  On top of the fun of seeing a show, you get the opportunity to ask any question that pops into your head about said show (which always provides for some amusing moments.)  So you can imagine my excitement when the Generation Next post-show event was a discussion with ABBA Mania creator and band member Mark Thomas!

Mark was so gracious in answering all of our questions from “What happens when a member of your group gets sick?” (they have an understudy on tour with them) to “Are there ABBA Mania groupies?” (they have an especially nice following in the U.K., but sorry ladies, he’s married!)  And then there is my favorite factoid of the evening: in addition to performing the pop hits of ABBA, Mark is actually a trained jazz drummer!  Very talented guy.

Before I sign off, friends in cyberspace, let me leave you with this nugget of knowledge: Generation Next events are some of the best deals in town.  For a $25 ticket I saw a show, attended a post-show event, AND got a free drink (gentlemen take note, this is a brilliant date idea!).  And, of course, where else can you meet a jazz drummer who also plays Bjorn of ABBA?

Generation NEXT at ABBA Mania: Gimme Gimme Gimme

We came, we saw. We danced. It was a good night. Maddie’s post below covers most of the happenings; her next post will cover the post-performance discussion with ABBA Mania’s creator.

Meanwhile, in researching my previous post, I discovered a phenomenon that takes the subject of ABBA cover songs to the next level:

Ladies and Gentlemen, I give you: Bjorn Again, a group dedicated to covering the works of other pop stars in the sultry harmonic stylings of ABBA.
Click and be amazed:

A Little Respect

Flashdance (What a Feeling)

And…oh my. Enter Sandman.

To be continued.

Generation NEXT at ABBA Mania: Dancing Queen

Baby, we were Bjorn to Run. ...Get it?

Any show that features sparkly, silver, platform, knee-high boots, 70’s jumpsuits, and a man named Bjorn is something that I want to be a part of.  Believe me, you would too!  Granted I walked in the door an ABBA fan, but I promise not everyone there was a Swedish pop music aficionado… I’m pretty sure the guy a few rows in front of me was forced at gunpoint by his girlfriend to buy tickets… but that being said, even HE was on his feet by the end of the first act!  So now…without further ado…

The Top 5 Greatest Moments of ABBA Mania!

5) The audience dancing in the aisles.  There are very few theatrical events where I have actually been encouraged to get out of my seat and sing and dance along with the performers.  Usually theatres HATE when you do that!  Especially the Broadway houses (trust me…I know…)

4) The finger dance.  Just what IS the finger dance, you ask?  Point both your index fingers up in the air.  Raise your right index finger.  Lower is as you raise your left index finger.  Reverse.  Repeat.  The audience was instructed to do this with the performers— I can’t explain it, but there is something SO cool about doing the same choreography as the performers… even if it is something as deceptively simple as the finger dance.

3) The terrible ABBA puns you make with friends at intermission (if you put enough ABBA fans in one room it’s bound to happen.)  Examples: “I ABBAsolutely love this!”  “This is FABBAlous!”  “I Fernandon’t ever want to leave!” (Okay, that last one’s a stretch, but you get the picture.)  *Challenge: What is YOUR best ABBA pun?

2) ABBA-maniacs.  I thought wearing my 70s jumpsuit would be over the top, but let me tell you there are some serious ABBA fans out there.  You will know them by their platform knee-high boots, blonde wigs, and sequins.  They are super nice, very fun, and I’m pretty sure always smiling and dancing (at least from what I’ve seen.)

1) My favorite moment of the night: one of the singers begins a stirring rendition of the “The Winner Takes it All”.  The last song had been upbeat so people were still a bit riled up and chatty when the volume was brought down for this slow song.  Apparently someone towards the front was still whispering because an avid ABBA fan let out a huge, angry “SHHHHH!” which, no lie, I heard all the way in row X.  ABBA fans are serious about their music!

Generation NEXT at ABBA Mania: Take a Chance on Me

We all have at least one disco jumpsuit in our closets...right?

Let me begin by saying there are few things in the world that I will miss Glee for on a Wednesday night… ABBA is one of them.  I know what you’re thinking, “ABBA?!  Even my MOM hates disco!”  To you, friend, I pose this question:  Have you ever sat down and seriously listened to the ABBA-Gold: Greatest Hits album?  It is—no exaggeration here— the greatest thing ever.  I too was a skeptic once until my college roommate (a total music snob—no offense, Katie!) came out to me as an ABBA-maniac.  You can imagine my shock.  Sure, I enjoyed Mamma Mia (who didn’t?!) but listening to ABBA on a day-to-day basis?  I needed convincing…

Now I’m not so much a morning person as I am a person that sets 5 alarms and still hits the snooze button several times before rolling out of bed for coffee.  One morning, when Katie was sick of hearing my alarm go off for the third or fourth time, she popped in her ABBA cd in an effort to rouse me from my slumber.  True story, by the end of “Take a Chance on Me” I was on my feet with that disco rhythm running through me like John Travolta in Saturday Night Fever!  Was it magic you ask?

No.  It was ABBA.

Mind you, I am not the only one that feels this way.  ABBA is a lasting phenomenon.  Those of my generation may remember the A*Teens (“Upside Down”) who originally started as a teen ABBA cover band and adopted the same sound as ABBA for their own music.  Then, of course, there is the Broadway and movie megahit Mamma Mia with productions and tours all over the world.  As an American Studies major in college we studied the impact of disco on popular culture.  While many embraced disco music and the clothing, dance styles, and club culture that went with it, the well-known “Disco Sucks” backlash plays a large role in its history as well.  The disco culture was viewed as, among many things, shallow and escapist.  However, for all the things that can be and have been said about disco, I defy anyone to listen to a great disco group like ABBA and not at least bop their head to the beat.  It is infectious!

So tomorrow night Katie and I are going to go see ABBA Mania in concert and suffice it to say we are VERY excited.  Now I just have to decide between wearing the vintage disco dress and the full-out one piece jumpsuit…

Generation NEXT at ABBA Mania: Knowing Me, Knowing You…

This is ABBA, circa the late '70s. I wish I had the courage to wear white overalls in public...

I’m a 27 year-old man from New Jersey, and I have complicated feelings about ABBA.

That’s not to say complicated feelings are a bad thing, per se, they’re just, well, complicated. Good-complicated, like the components of a rich tomato sauce or the season finale of Mad Men.

I have vivid childhood memories of my parents and our neighbors hosting dinner parties, with ABBA Gold playing in the background (it seemed to be one of those records that every thirtysomething couple in the 1980s owned, as if it came with the stereo or was dropped off with the morning papers one Sunday morning). “Super Trouper” conjures up phantom tastes of a casserole our neighbors used to make, otherwise forgotten.

My sophomore year of high school, I fell in love with the weird, spectacular campiness of the 1994 film The Adventures of Priscilla, Queen of the Desert (soon to be a Broadway musical). This film (it’s great. Go rent it. Thank me later) features “Mamma Mia” prominently…and thus, the song was stuck in my head for three weeks following.

I also became a big fan of Muriel’s Wedding, which both features the music of ABBA and the amazing Toni Collette (also worth renting. Wow, three paragraphs in, and I’m already monopolizing your Netflix queue). I think this was my first real exposure to the whole ABBA experience; the weird and wonderful mix of relentless positivity, aura of disco-kitsch, and yes, more than a hint of booty-shaking groove. There’s something to be said for such unabashed, relentlessly optimistic fabulous-ity.

Other Abba-centric memories of mine include two upperclassmen in college who would begin (and sometimes end) most parties with a rousing dance-mime version of “Fernando,” and a terrifying summer theater production of Chess I once got roped into; that’s neither here nor there.

For those of us who came of age in the suburbs in the mid-to-late nineties, I think we were all caught in a weird echo-boom of nostalgia about ABBA; as our parents rediscovered the music of their youths, and the arts and entertainment contemporaries of their generation came into control of their industries, ABBA soaked its way in to a whole new generation’s ideas and ideals of pop culture.  This, ultimately led to that  grand-dame of all jukebox Broadway musicals, Mamma Mia, which, in turn, spawned the film of the same name. Mamma Mia will forever be remembered for reminding us that Meryl Streep can actually do anything, and Pierce Brosnan’s singing voice sounds like the dulcet tones of a braying water buffalo.

But, I digress.

The point here is that ABBA is this undeniable cultural touchstone, tied closely to rampant and unstoppable positive vibes. And all of us, being somewhat cynical children of the new millennium, have a slight resistance to that; it is, after all, a cynical world we live in.

You have to admit, there’s something cool in being able to neat those cynical impulses back with some soulful disco-pop sent our way from Sweden.

With this in mind, we’re headed to Morristown tomorrow night, for a GenNEXT event at the Mayo Center for the Performing Arts’ presentation of ABBA Mania.

Come with us. Dance. Jive. Have the time of your life.

…

That’s how the song goes, right?

Also, how fun does this look?

Generation NEXT at MacHomer 3: Meeting Rick Miller/The AfterParty.

After the performance of MacHomer, the guests of JerseyArts were treated to a discussion with the sole performer of the show, Rick Miller.  First, a little about the multi-talented actor himself.  Miller is an actor, singer, and an architect who created the show while impersonating Simpsons characters while at a cast party after Macbeth.  He has performed MacHomer all around the world in several languages, as well as several other award-winning shows his production company, WYRD Productions, has produced.  As mentioned in my other posts, Miller impersonates over 50 characters from The Simpsons.

The discussion itself was both enlightening and entertaining.  Miller was unafraid to answer any question posed and was kind and courteous to everyone.  Some of the things he mentioned really stood out to me.  A look at the “cast list” and one can see some odd pairings between Simpsons characters and the roles of Macbeth.  Miller’s casting process was a combination of factors: obviously, Homer was the fit for Macbeth, but since Bart and Lisa are difficult for him to reproduce well and consistently, he has the Simpson children as much smaller roles.  Clearly, Miller’s voice is a vital component to his success, and he must take great pains to preserve it.  Also, his creativity in regards to his writing of the show was brought up when discussing several updates to the show over the past decade.  Miller makes edits for two reasons primarily: to keep the show fresh in the audience’s mind (although a George W. Bush joke did seem oddly outdated) as well as in his own mind, considering he performs the show so often.  In fact, Miller only performs the show a handful of months out of the year to avoid the risk of overdoing something as silly and outlandish (and exhausting) as MacHomer.

Rick Miller, while delving into short anecdotes and explaining various logistics behind his creation, also seemed to be a generally nice guy.  He constantly made jokes, even at his own and the show’s expense.  He was very aware that this concept probably couldn’t work on an epic scale, but he also appeared to be quite proud and pleased with the success it has had so far.  And could you blame him? By a simple agreement with Matt Groening, the creator of The Simpsons, Miller has been able to live his dream life by touring the world and entertaining over half a million people.  And that is something I bet a majority of artists wish they could boast.

Generation NEXT at MacHomer 2: The Show!

Bart's part is pretty much a cameo...but you can't deny he's photogenic...

Last Wednesday at the Crossroads Theatre in New Brunswick, a friend and I saw MacHomer, the one man spectacular mashing Shakespeare’s tragedy of Macbeth with over 50 impressions of characters from the TV series “The Simpsons”.  Walking into the theatre was an interesting experience.  The theme songs of familiar TV series played while we stared at a small set, simply a miniature TV set style podium backed by a large projector screen.  From before the show even started, I could tell this was going to be something different.

And how little prepared I was for what took place that night.  Rick Miller, the one and only star of the show, entered dressed in traditional Scottish garb, and began reciting the first lines of Macbeth as the Wyrd Sisters, but really as three side characters from The Simpsons: Captain McCallister, Moe Szyslak, and Principal Seymour Skinner.  From the get go, we have surprising choices for characters (he referred to this later as “casting”) and there were many more similar cases of juxtaposition (such as Apu as one of the murderers). But remarkably, Miller stayed true to the script, keeping many of the lines (at least the ones I could remember) and lampooning several of them at the same time.  He begins the MacHomer speech of “Is this a dagger I see before me” quite faithfully until the “dagger” manifests quickly into a slice of pepperoni pizza.

 

Chain-mail and a donut...it never stops being funny.

Overall, my impressions of the show were favorable.  Miller is an incredibly talented performer, as nearly all of his impressions were spot on and his ability to command an audience with humorous asides was admirable.  The show was well written, witty, and fast-paced; so fast-paced, in fact, that it was hard to know what was going on at times.  I did enjoy the omission of an intermission (with the exception of a humorous 15-second break for Miller himself) as it made the show go faster and would be pointless as the show in its entirety is less than 90 minutes long.  Omitting intermissions is one of my favorite trends in theatre over the last five to ten years.  Finally of note, Miller’s use of a camera hidden behind the podium to project his face onto the gigantic projector screen was ingenious. While theatre purists hate any type of video media within a show, Miller’s invention was utilized so brilliantly and for comedic effect that it did nothing but add to the hilarity of the show.  I have to say, MacHomer was one of my favorite theatre experiences in some time.  More on Miller himself and some of the behind-the-scenes information in my next post.