The Maccabeats, the a cappella group that has become a YouTube sensation on Facebook, will be performing at the Marucs Jewish Community Center Atlanta (MJCCA) Sunday from 5 to 6:30 p.m.
Formed in 2007 at Yeshiva University, the group has performed around the country and at the White House. The Maccabeats has released three albums and has had 10 million views on YouTube.
Ticket prices run from the member rate of $8 to the nonmember rate, $15.
Atlanta Ballet is bringing back three of audiences’ favorite innovative works from past seasons.
Atlanta Ballet’s eclectic mixed-rep program Modern Choreographic Voices (MCV) showcases the freshest and most innovative works from all corners of the globe. The ballet presents Israeli choreographer Ohad Naharin’s ultra-modern and infectiously raucous “Minus 16,” Alexei Ratmansky’s hypnotic “Seven Sonatas,” and Gina Patterson’s imaginative “Quietly Walking.”
The program, billed this season as The Best of Modern Choreographic Voices will run for one weekend only, March 17-19, at the Cobb Energy Performing Arts Centre.
MCV is an evolution of the program created by Atlanta Ballet in 2010, titled then Ignition: New Choreographic Voices. Over the past five seasons, artistic director John McFall has molded the program into a barometer of what’s new and exciting in the dance world, presenting new works by up-and-coming artists as well as premieres by modern day greats.
Ohad Naharin’s “Minus 16”
Atlanta Ballet will go “Gaga” once again with the return of renowned Israeli choreographer Ohad Naharin’s critically acclaimed “Minus 16.” “Gaga” is Naharin’s signature, free-flowing movement style that embraces the unconventional and thrives on the unexpected. “Minus 16” made its Atlanta Ballet debut in March 2013 and is also a part of the repertory of companies such as New York’s Alvin Ailey American Dance Theater and Chicago’s Hubbard Street Dance. “Minus 16” has been described as a choreographic masterpiece, with a musical score that ranges from Dean Martin and mambo to traditional Israeli songs. The unique experience calls for the audience to get in on the action as well as they are invited to be a part of the dance, breaking the barrier between performer and spectator.
Alexei Ratmansky’s “Seven Sonatas”
Power, precision and stamina are three words that may spring to mind when watching Alexei Ratmansky’s intense, fast-paced “Seven Sonatas” – a work that has become a hallmark for the Russian dancer-turned-choreographer, who, at 46, has already become an icon in the ballet world.
Ratmansky, who currently serves as artist in residence at American Ballet Theatre (ABT) in New York, is known as one of the prolific choreographers of his generation and was even regarded by The New York Times as “the most looked-to choreographer in Western ballet” and “the most gifted choreographer specializing in classical ballet today.”
Atlanta Ballet premiered “Seven Sonatas,” on its March 2014 Modern Choreographic Voices. The work is a classical piece for six dancers who engage with each other in a variety of intricate combinations, set to seven “Keyboard Sonatas” by composer Domenico Scarlatti. It was one of the first works Ratmansky created for his dancers at ABT in 2009 and Atlanta Ballet has the distinction of being the first outside of ABT to perform it – a major tribute to the growing national reputation of the Company. “Seven Sonatas” has been described by critics as “remarkable,” “miraculous,” “spellbinding,” and an “indelible imprint of beauty.”
Gina Patterson’s “Quietly Walking”
Hailed as a choreographer of “startling originality” (Back Stage) and “a standout on the soulful front” (Sun-Sentinel), choreographer Gina Patterson will reprise her “Quietly Walking,” which originally debuted on Atlanta Ballet’s inaugural New Choreographic Voices program in 2011.
Atlanta Ballet’s The Best of Modern Choreographic Voices opens Friday, April 17 and runs for four performances at the Cobb Energy Performing Arts Centre (2800 Cobb Galleria Parkway, Atlanta, GA 30339). Tickets start as low as $20 and are on sale now. To purchase tickets, visit www.atlantaballet.com or call 404-892-3303. For groups of ten or more, call Atlanta Ballet Group Sales at 404-873-5811, ext. 207.
As of 4/15, the show has been extended another week and will run through May 3.
Pulitzer prize-winning author John Patrick Shanley’s “Storefront Church” is playing at Theatrical Outfit and features a fantastic cast of actors. The script, however, is not so good. Arguments tend to drag on too long, and Shanley’s attempt at making us wonder who really is right and who is wrong is reminiscent of “Doubt: A Parable” and feels contrived here.
Shanley, who won numerous awards for “Doubt”and an Academy Award for Best Original Screenplay for “Moonstruck,” seems to have looked back in time for inspiration, trying to confuse the audience once again as to who the real protagonists and antagonists are. I’m not moved that an older couple may lose their home. I like watching them fight for what they believe is theirs, but I’m not moved like I’d like to be. However, the couple sitting next to me was moved, in a way. After intermission they never returned for the second half of the show.
With actors who do a wonderful job, it’s a shame I don’t care about their characters. Well, maybe I feel a little bit for Reed Van Druyten (Joe Knezevich), the poor man who has been shot in the face when I hear his back story. Knezevich plays him so well. All the actors do a great job. I look forward to seeing them again in a better play.
Directed by David de Vries, “Storefront Church” runs at Theatrical Outfit through May 3.
Cast:
Jessie Cortez . . . . . . . . Donna Briscoe
Tom Raidenberg . . . . . . . . Tom Key
Ethan Goldklang . . . . . . . . Clayton Landey
Chester Kimmich . . . . . . . . E. Roger Mitchell
Donaldo Calderon . . . . . . . . Anthony Rodriguez
Blue Man Group is gonna rock The Fox Theatre this week. Hailed as “One of the most delightful performance pieces ever staged” by The New York Times, Blue Man Group has performed around the world and is marking its Atlanta debut since the group began in 1991.
Grammy-nominated recording artists, Blue Man Group has released five albums, has contributed to various film scores and has performed with orchestras around the country.
Blue Man Group performs April 7-12 at the Fox Theatre.
“Marcus; or The Secret of Sweet” may be somewhat about homosexuality in the black community, but it is more a coming-of-age story about relationships, love and betrayal at any age. Although it has a slow start, stay with it because it’s worth it. A good cast does this show justice.
The playwright, Tarell Alvin McCraney, graduated from Yale School of Drama’s playwriting program where he received the Cole Porter Playwriting Award. He also has been nominated for the Olivier Award for Outstanding Achievement and won the Alliance Theatre’s Kendeda Graduate Playwriting Competition.
Directed by Karen Robinson, “Marcus; or the Secret of Sweet” runs through April 26 at Actor’s Express.
Cast:
Terry Guest . . . . . . . . . Marcus
Enoch King . . . . . . . . . Ogun
Shon Middlebrooks . . . . . . . . . Shua
Bernardine Mitchell . . . . . . . . . Elegua
Tiffany Denise Mitchenor . . . . . . . . . Oba/Shun
Falashay Pearson . . . . . . . . . Osha
Avery Sharpe . . . . . . . . . Terrell
Olubajo Sonubi . . . . . . . . . Oshoosi
Ashley Tate . . . . . . . . . Shaunta lyun
The Alliance Theatre brings the world premiere of Phillip DePoy’s “Edward Foote” to the Hertz Stage. If you like Sam Shepard, you could end up loving this because it’s so Sam Shepard, or you could end up disliking it because no one does Shepard like Sam Shepard. Think of Shepard’s plays about love and evil, family dysfunction and poor mountain country folks. Mix “Curse of the Starving Class,” “Lie of the Mind” and “Fool for Love,” fraught with lies, abuse and incest, and you’ve got a good idea of what to expect in “Edward Foote” on the Hertz Stage at the Alliance Theatre.
A well-acted play, directed by Chris Coleman, “Edward Foote” runs through April 19 on the Hertz Stage at the Alliance Theatre.
Cast:
Jeremy Aggers . . . . . . . Reece
Lowrey Brown . . . . . . . Mr. Nevins
Steve Coulter . . . . . . . Ray Earl
Jeannette DePoy . . . . . . . Townsperson
Scott E. DePoy . . . . . . . Townsperson
Ann Marie Gideon . . . . . . . Nigella
Trevor Winfield Goble . . . . . . . Barlow
Bethany Anne Lind . . . . . . . Mrs. Nevins
Hayley Platt . . . . . . . Ann
Atlanta Ballet performs the world premiere ballet based on the 1953 Tennessee Williams classic play “Camino Real.” The story is told from the perspective of Kilroy, a character based on patriotic iconography from the WWII era. The work grapples with human mortality, the burning desire to connect, and the will to live. Atlanta Ballet commissioned a brand new score for this full-evening ballet, which will be performed live by the Atlanta Ballet Orchestra.
Friday evening there will be a pre-show party at 6:30 p.m. in the Grand Tier Lounge of the Cobb Energy Centre, featuring a complimentary cocktail, an appearance by company dancer Kiara Felder and prize giveaways.
Choreographed by Atlanta Ballet choreographer in residence Helen Pickett, “Camino Real” runs Friday through Sunday at 8 p.m. March 20-21, and 2 p.m. March 21-March 22. at the Cobb Energy Performing Arts Centre at 2800 Cobb Galleria Parkway, Atlanta. 404-892-3303. Tickets: 23-$124. www.atlantaballet.com.
Families are invited to experience the opening night of a big, loud, funny, silly, visually arresting production of Blue Man Group at the Fox Theatre. In honor of the occasion, Fifth Third Bank Broadway in Atlanta is throwing a family-focused event on Tuesday, April 7. The FREE Family 2 Family Kids Night on Broadway celebration will take place in the Grand Salon Ballroom from 5:30 p.m-7 p.m. Attendees can enjoy sweet treats from Jake’s Ice Cream, snack-on pouches from GoGo squeeZ, learn circus skills from Circus Camp, participate in fun science demonstrations by the Children’s Museum of Atlanta and more. As if the deal couldn’t get any sweeter, half price tickets are available now for the 7:30 p.m. performance of Blue Man Group that evening using code “KIDSNIGHT.”
WHAT: Family 2 Family Kids Night on Broadway
An interactive pre-show event in the Grand Salon Ballroom at the Fox Theatre from 5:30-7 p.m. including Jake’s Ice Cream sweet treats, samples from GoGo squeeZ, Circus Camp activities and Children’s Museum experiments, plus a Blue Man Group photo opportunity and more
WHEN: Tuesday, April 7, 2015, 5:30 p.m-7 p.m.
Show begins at 7:30 p.m.
WHERE: Grand Salon Ballroom at the Fox Theatre
660 Peachtree Street Northeast
Atlanta, GA 30308
This Tuesday Laura Lippman, author of six New York Times bestsellers, will be at the Marcus Jewish Community Center Atlanta to discuss her latest mystery, “Hush, Hush.”
Since the publication of her first novel in 1997, “Charm City,” Laura Lippman has won virtually every major award given to U.S. crime writings, including the Edgar Award, Anthony Award, Agatha Award, Nero Wolfe Award, Shamus Award, and the Quill Award.
In “Hush, Hush,” Lippman brings back private detective Tess Monaghan, introduced in the classic “Baltimore Blues,” in an absorbing mystery that plunges the new parent into a disturbing case involving murder and a manipulative mother.
Lippman will be speaking at 7:30 p.m. The first two people to leave a comment at the bottom of this post requesting tickets will receive a pair of passes to the show. All others can get $5 off the MJCCA member rate of $10 or the nonmember rate of $15 by going to the ticket page and typing in ASHERPR (in all uppercase letters) at the Coupon Code.
The MJCCA is located at 5342 Tilly Mill Road, Dunwoody.
Few people would expect a calm Harvard graduate, New York Times best-selling author, and editor of The Atlantic to have anxiety about getting fired from his job, but Scott Stossel does. Aside from feeling anxious about completing a task for work on time, Stossel is anxious about most everything: vomiting, fainting, speaking in public, flying, germs, cheese and more. On the outside, people see him as cool and collected, but his inside emotions are burning. At his own wedding he was so anxious that sweat penetrated through his clothes as he shook severely. Since the age of 7, the now 45-year-old journalist has been fighting anxiety with a mix of antidotes, including numerous medications, alcohol, a variety of therapies, meditation, yoga and praying. Most have worked little to none.
Stossel’s therapist, who has specialized in anxiety for 40 years, defines anxiety as “apprehension about future suffering.” The author’s research on anxiety reveals that we all have it to some degree, and one in five of us suffer from an anxiety disorder. In his New York Times best-selling book “My Age of Anxiety: Fear, Hope, Dread, and the Search for Peace of Mind,” the journalist shares his personal experiences with the disorder (some are quite funny), as well as the history and science of it.
Stossel will be speaking Sunday, March 1 at 7:30 p.m. at the Marcus Jewish Community Center Atlanta, MJCCA. My Q&A with him is below. If you’d like one or two free tickets to the event, please leave a comment below as I will be giving away two pairs of tickets to the first two people who leave a comment.
SA: You’re anxious about public speaking, yet you do it a lot. What prompts you to keep speaking in public even though you are so anxious about it?
SS: Partly self-masochism. The main reason is I want people to find out about the book, to buy it and learn about it and hopefully benefit from it. It’s also therapeutic as a protracted form of exposure therapy, which is how you’re supposed to treat phobias and anxiety, by indirectly confronting yourself with the thing that you really fear. Since the hardcover came out a year ago, I have been doing it (speaking publicly) on and off for a year, and it has gotten easier over time. Which isn’t to say that it’s always easy. And I medicate.
SA: How does that affect your writing when you medicate?
SS: It doesn’t affect it well. I couldn’t go do an event, if it was a big event, and then immediately go back to my desk and write with any crispness or clarity or much coherence. I kinda need to take a nap first. It’s not ideal in that respect.
SA: What about on a normal day like today, you still have to take medication don’t you?
SS: Yeah, but it’s not much most of the time. By not having to take a bunch of benzodiazepines like Xanax, I’m usually fine to work.
SA: What is it like when you interview a subject? Do you still feel that anxiety then or do you feel like “I’m not on display, you are”?
SS: It’s unpredictable. I definitely feel less anxiety in that situation. There are times when I don’t feel any more (anxious) than the normal person would. Then there are times when it will spring up on me unexpectedly and pretty bad, but by and large it’s a lot less on average than having to publicly perform on stage.
SA: You wrote in your article in The Atlantic that even reading a book gives you anxiety? What is it about reading, something that you do all alone, that makes you feel anxious?
SS: I don’t think it’s specifically that reading makes me anxious. What I was trying to say is that these panic attacks can suddenly come out of nowhere (while I’m) doing any old thing. Reading, actually, is not something that makes me particularly anxious. There are moments when anxiety creeps up on me. If I were to succumb to an anxiety attack while reading it would probably be either because the content in the book triggered anxious thoughts or because I was starting to feel physically unwell for some completely other reason. I’ll get hit with anxiety at all times doing anything, but reading is not particularly anxiety producing. In fact, it’s one of the least anxiety producing things.
SA: What has been the biggest help for your anxiety?
SS: Medication for sure, but aside from that, certain deep breathing techniques. Mindfulness meditation to calm yourself down. Cognitive behavioral therapy didn’t work. When I did exposure therapy undergirded by Cognitive Behavioral Therapy at Boston University’s Center for Anxiety Disorders for my emetophobia (the fear of vomiting, which he hasn’t done since 1977), it focused on trying to reframe your cognition, or change you thought patterns. It’s trying to break maladaptive habits or thoughts in order to see things in a less fearful way, which has been effective with public speaking phobias. It hasn’t cured me but it has helped.
SA: What do you do now other than medication and meditation to appease it? Are there other things you do to calm yourself down?
SS: That’s mainly it. I’m still in psychotherapy with Dr. W. (his therapist who has specialized in treating anxiety for 40 years).
SA: Do you even feel anxiety when you talk to someone like me, somebody who doesn’t know you but is asking questions?
SS: Sure, as I say it is sort of unpredictable. It has a lot to do with certain factors that are predictable, like Have I gotten enough sleep? Have I gotten exercise? Or if I drink too much caffeine. Sometimes it’s totally unpredictable and I don’t know why sometimes it’s no problem at all, and other times things can be either mildly or overwhelmingly anxiety producing.
SA: If I know that I’m going to be talking to someone who has anxiety, what is the best way for me to go about talking with that person to make them feel OK with me? Is there anything you could recommend that I and others do?
SS: I think the answer is no, because I think – speaking only for myself, and I think probably for other people – you don’t want to feel like you’re being treated any differently or with kid gloves, or certainly patronizingly or anything like that. In the throes of an anxious attack some of the things you don’t want to say are “calm down” or “just get over it.” It’s not so easy or we would. I think the way is to interact normally with people. Stay in the moment with them. If you’re giving them special treatment, it won’t necessarily help them get cured. On the other hand, being gentle and kind is always a good thing for anyone who is in distress.
SA: In the first chapter of your book, you wrote: “I am buffeted by worry: about my health and my family members’ health; about finances; about work; about the rattle in my car and the dripping in my basement; about the encroachment of old age and the inevitability of death; about everything and nothing.”
It reminded me of Woody Allen, and you’ve been compared to him before. I wonder if you’ve ever thought about doing a comedy routine or writing a play about this?
SS: I don’t think I’d ever do a one-man comedy show because that would provoke all my worse anxiety, even if I were to get up there and be funny. On the other hand, the book has been adapted, the theatrical rights of the book have been acquired by Second City improv theater group out of Chicago. They are working on an outline that another writer and I worked on and possibly turning that into a stage production. Who knows if it’ll actually get off the ground. It’s been fun thinking about it and working on it. I wouldn’t be appearing in it. There would be someone else playing me. That would be the idea.
SA: I hope that whatever Second City does with it, it is something that can be shared with many people, not just in Chicago but everywhere.
SS: Thank you. I share that hope and I hope you’re right.
Click here to see excerpts from the book in The Atlantic.