from Funny or Die:
directed by Chris Gorham
VIDEO: The Rant Writer
March 25, 2010
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Posted by Amy Steele
Art: Isabel Riley solo installation “Regional Conditions”
March 4, 2010
**Isabel Riley was in one of my favorite mid-90s Boston Bands: Vera-go-go**
OPENING NIGHT
Date: Saturday, March 6, 2010
Time: 6:00pm – 8:00pm
Location: Proof Gallery
Street: The Distillery, 516 E. 2nd Street, South Boston, MA 02127
Proof Gallery
phone: (508) 963-9102
email: proof.gallery@gmail.com
Thursdays, Fridays, and Saturdays 12-5pm and by appointment
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Posted by Amy Steele
In the Realm: Boston Theatre Happenings
March 3, 2010Huntington Theatre
Boston, Mass.
Stick Fly
Calderwood Pavillion, BCA
running until: March 28
description: Sparks fly and long-hidden secrets tumble into the open when the LeVay brothers bring their new girlfriends home to Martha’s Vineyard’s world of privilege. This smart, moving, and funny portrait of a complex African-American family from acclaimed Huntington Playwriting Fellow Lydia R. Diamond (Voyeurs de Venus) is an of-the-moment look at sibling rivalry and the weight of parental expectations.
Becky Shaw
BU Theatre, mainstage
running: March 5-April 4
description: Huntington Artistic Director Peter DuBois brings his latest New York smash hit to Boston in this wickedly funny comedy about a blind date gone bad written by Gina Gionfriddo (After Ashley, writer/producer of “Law & Order”). When a newly married couple fixes up two romantically challenged friends, crisis and comedy ensue in this hilarious new play that asks what we owe the people we love the most and the strangers who land on our doorstep. A 2009 Pulitzer Prize finalist.
New Repertory Theatre
Watertown, Mass.
Opus
running: March 28-April 17
description: The celebrated and world-renowned Lazara String Quartet is struggling to prepare for
their highest-profile performance when their gifted but volatile violist mysteriously
disappears. The play is interwoven with rich and powerful music that propels this New
England Premiere forward. Violinist-turned-playwright Michael Hollinger’s Opus has
tempers flaring and egos clashing when a new member is introduced and the group’s
secrets are revealed.
Boom
running until: March 13
description: As an undiscovered comet hurtles towards earth, one lone scientist takes it upon himself to preserve the human race. Hilarity ensues when the woman he has taken captive refuses to procreate, and the shelter he has built is damaged beyond repair. This darkly funny New England premiere by Peter Sinn Nachtrieb takes a look at our fascination with the end of the world and starting anew.
American Repertory Theatre
Cambridge, Mass.
Paradise Lost
running through: March 20
description: The American economy is on the edge of catastrophe and futures are at risk. The Gordon family, in danger of losing all they have worked for, strive to preserve their trust in each other and in the promise of their nation. Written by one of the greatest twentieth-century playwrights, Paradise Lost is a poetic, humane, and distinctly American drama that examines the impact of money and greed on family, business, and love.
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Posted by Amy Steele
Art: Luis Melendez and The Gardner Theft
February 8, 2010
At the MFA, Boston
Luis Melendez
Master of Spanish Still Life
exhibit runs through May 9, 2010
Luis Meléndez (1716–1780) was the greatest still life painter of 18th-century Spain. An accomplished painter of miniatures, he began creating still lifes as early as 1759. In 1771 he was awarded a commission from the Prince of Asturias (later Charles IV), an avid amateur of the new science of natural history, to paint an extensive series of works documenting “every species of food produced by the Spanish climate.” An inventive and consummate master of still lifes, the artist rendered everyday objects with exacting detail, but also created marvelous effects of light and color and a wide range and variety of textures. “Luis Meléndez: Master of the Spanish Still Life” features many of the artist’s works in American collections, grouping them with relevant works borrowed from abroad, and explores some of the technical aspects of his extraordinarily realistic still life paintings. [from MFA web site]
The Gardner Theft: Twenty Years Later
Thursday, March 4 | 6:30 pm
Isabella Stewart Gardner Museum
Anthony Amore, Gardner Museum Director of Security and lead theft investigator
With Tom Ashbrook, host of National Public Radio’s On Point.
In the early morning hours of March 18, 1990, thieves dressed as Boston police officers entered the Isabella Stewart Gardner Museum in Boston and stole thirteen works of art. Twenty years later, the investigation to recover the missing paintings continues. In a rare public program, Anthony Amore dispels some of the myths and misinformation by telling the real account of what happened on the night of the theft. New information on the museum’s progress to recover the works of art add to this dramatic ever-evolving story of loss and hopeful recovery. Amore will be joined by Tom Ashbook, an award-winning journalist whose career spans 20 years as a foreign correspondent, newspaper editor, and author.
Tickets: Advance ticket sales for members only until February 15; $5 members
Tickets for the general public on sale February 16; $10 General Public; $5 Seniors; FREE Students (ID required)
Ticket handling charges apply for orders by phone at 617 278 5156 or online.
[from ISGM email]
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Posted by Amy Steele
The Secrets of Tomb 10A: Egypt 2000 BC at MFA Boston
February 8, 2010
This is an impressive exhibit at the MFA. It took a century to restore many of the artifacts found in Tomb 10A in Egypt. The tomb had been ransacked and most jewels and valuables were taken from the caskets and from around the tomb. It’s fascinating to see everything recreated and to learn how wealthy Egyptians were buried and prepared for a “journey” to the afterlife.
WELL-KEPT SECRETS
He or She?—Through the years, scholars have tried to determine if the mummified head found in Tomb 10A was that of Governor Djehutynakht or Lady Djehutynakht. They also would like to know the cause of death and how old he/she was at the time of death. DNA tests are currently being conducted on a molar recently extracted from the head by doctors from Massachusetts General Hospital, who sent it to medical examiners in an attempt to solve this mystery.
Open and Shut Case—When the mummified head was examined at Brigham and Women’s and Massachusetts General Hospitals, the mystery of why several facial bones had been removed was solved. It appears the brain—in addition to being extracted the traditional ancient Egyptian way, through the nose—was also partially removed through the base of the skull at the back of the head. Additionally, bones and muscles were removed from the cheeks, possibly in keeping with the Opening of the Mouth ceremony, an important funerary ritual of ancient Egypt that restored the use of the mouth for the deceased to eat, drink, and breathe in the afterlife.
Where’s the Loot?—Although tomb robbers stole most of the items in the tomb made of precious metals and jewels, they left behind great treasures of another kind—masterworks of Egyptian art—such as the famous “Bersha coffin,” the finest painted coffin ever discovered in Egypt, and the Procession of offering bearers (c. 2040–1926 BC), a wooden model that was among approximately 100 models found scattered throughout Tomb 10A. Because of its delicate carving and detailed painting, it is the most notable one of its kind found in Egypt.
Cast a Spell—The Djehutynakhts’ coffins are inscribed with an abundance of Coffin Texts, filling 2,807 columns. Djehutynakht’s outer coffin has 175 powerful spells depicted in hieroglyphs, and the inner one has 201; Lady Djehutynakht’s has 92 spells on the outer coffin, and 127 on the inner one.
Room with a View— Painted on both the inside and outside of his coffin were two pairs of wedjat eyes—depicting the Eye of Horus, a protective symbol—which gave Djehutynakht a window seat on his journey to the afterlife. When the coffin was brought from Egypt to the MFA in the 1920s, the left eye of Horus on the outside of Djehutynakht’s coffin was gone. However, in preparing objects for The Secrets of Tomb 10A: Egypt 2000 BC, MFA conservator Pamela Hatchfield discovered the missing fragment. Lost since antiquity, the left wedjat eye has been restored for the exhibition as originally intended. Ironically, this story of the coffin’s “wandering eye” parallels ancient Egyptian mythology, which recounts how Seth (the brother of the god, Osiris, and uncle of Osiris’ son, Horus) rents the left eye (which represents the moon) of the sky god Horus, but that after much searching, the moon god Thoth finds the pieces and uses his magic to make the eye of Horus whole again. Using her own modern-day magic, Hatchfield has stabilized and strengthened the missing wood fragment, cleaned the surface, consolidated the flaking paint, and reattached the piece—restoring full sight to the eye of Horus.
This Way Out—A false door modeled on a palace doorway was painted inside Djehutynakht’s coffin to connect the worlds of the living and the dead.
Bottoms Up!—Beer was a staple of daily Egyptian life, and legend has it that the god Osiris taught humans how to make it. Even children drank beer because it was considered nutritious. Four sealed beer jars were discovered in the governor’s tomb, and one will be opened at some point during the exhibition.
Ancient GPS—The Book of Two Ways offered a map to the afterlife; such maps first appeared in non-royal tombs in the Middle Kingdom.
Packing List—Objects found in the tomb match the friezes on Djehutynakht’s coffin depicting foodstuffs, animals, incense, and other items that he would need in the next life.
At Your Service—Wooden models of servants in action were a mainstay of tomb furniture, especially in early Dynasty 12. Then—with the exception of model boats, used to carry one’s ka, or life force, to the afterlife—they all but disappeared. Shawabtys, static human figures intended to perform any task, replaced them in the late Middle Kingdom.
Puzzling Find—About 1,000 wooden body parts—broken apart when the tomb was looted—had to be matched and reattached to their original models of servants before they could be displayed at the MFA. Five conservators, including one from the Cairo Museum, spent approximately 10,000 hours reassembling the pieces like a giant jigsaw puzzle. For the first time since the 100 models were placed in Tomb 10A about 4,000 years ago, these miniatures of daily life and representations of Djehutynakht’s boats will be seen assembled together.
[information from a press release issued by the MFA]
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Posted by Amy Steele
Interview: Tonya Chen Mezrich– jewelry designer, community activist and style luminary
December 12, 2009
photo by Eric Levin
Dr. Tonya Chen Mezrich is a non-practicing dentist who designs jewelry for her own collection: Jewel Design by Tonya. While at Dental School at Tufts University, she learned all the skills that she utilizes to design her one-of-a-kind jewelry. She finds jewels at estate sales in Boston, New York, and Paris and also uses sustainable materials, freshwater pearls and semiprecious stones as well as Swarovski crystals to create her unique necklaces.
Tonya is involved with the MFA Museum Council (nice to know as I’ve been a member for several years), the Animal Rescue League of Boston, serves as co-chair for the Boston Ballet Young Partners group, and sits on the advisory board for Mochi Magazine. She works with the Petpals program and brings her trained therapy dog, Bugsy, for regular visits with residents at Susan Ballis Home. If it sounds like Tonya isn’t busy enough, she’s also the Hot List columnist for Boston Common Magazine. The stylish jewelry designer is a nominee for the Daily Candy’s Sweetest Thing Fashion Category, and was named one of Boston Globe’s top 25 most stylish people. Tonya and her husband, best-selling author Ben Mezrich [New York Times bestsellers The Accidental Billionaires and Bringing Down the House], live in the Back Bay.
Amy Steele [AS]: You are a dentist. What did you like and not like about being a dentist?
Tonya Chen Mezrich [TM]: I loved my patients, and really being able to make a difference in people’s lives with dentistry. It was extremely rewarding to be able to give a person who had suffered with no or very little teeth, a new set of teeth and watch them light up with confidence and happiness as a result. What I didn’t particularly care for about being a dentist was all the red tape that insurance companies put patients and dentists through.
AS: Why did you start designing jewelry?
TM: I started designing jewelry during dental school. A friend of mine, who was at Harvard Dental, was always wearing beautiful jewelry. She told me she made it all, and that it was very easy to do. She encouraged me to start designing my own. So I took my tools from dental lab class and started making earrings. Everyone loved them, so I moved onto necklaces.
AS: You said that dentistry and jewelry making were closely related. How is this so?
TM: They are closely related because they involve the same skill set. A good mind in structure, foundation and design, and a good set of hands to accomplish it! Both fields are extremely detail oriented. You wouldn’t want a diamond falling out of its prong setting, just as you wouldn’t want a crown falling off of your tooth. A dentist is trained in casting metals, bending wires, waxing up, etc, the same exact skills needed to produce jewelry.
AS: How did you learn the fine art of jewelry making, even if it is like dentistry?
TM: I am a self-taught jewelry maker. I learned it all by trial and error. But it also helped me having a strong background in fashion, as well as fine arts training my whole life.
AS: Why is your jewelry unique?
TM: My jewelry is unique because my designs come from the heart, and are made of one of a kind materials. When a design is made from the heart, it shows. It’s not just some cookie-cutter piece of jewelry that you see anywhere. My jewelry turns heads, and makes the woman who wears it feel confident and beautiful.
AS: How are you making the jewelry, with what kind of techniques? [An aside I know nothing about jewelry-making]
TM: I make the jewelry using wire bending and wrapping techniques, as well as incorporating mixed media. I do not have the lab space yet to do castings, but I would like to in the future.
AS: What inspires your designs?
TM: I look around at nature, and at what people are wearing fashion-wise, to get hints as to what jewelry would pair well for each season. I am also inspired by many successful jewelry designers such as Erickson Beamon and Alexis Bittar.
AS: Where is your pug while you are working? How jealous does he get that you need creative time or have you worked out an arrangement? [writer's note: Tonya talks about her pug a lot on Twitter!]
TM: My pug hangs around nearby when I’m working. So he’s really right there in it the whole time. He sometimes even gets to test run my jewelry to make sure the pieces are solid and wearable. I’d say he’s the most fashionable pug on the block by far.
AS: What is your favorite type of jewelry (i.e. bracelet, necklace etc)?
TM: My favorite type of jewelry to design is necklaces. I used to do a lot of earrings, but I moved over to necklaces, because I am really into the chunky statement piece style. I don’t like to make chunky earrings because they pull at the lobes and stretch the holes, so I steer away from this style. I do have a signature chandelier earring that is extremely light, but still has a substantial appearance of “looking chunky”. People love this style because they can have the chunk without the damage that actual chunk causes!
AS: How much pressure do you feel having the Style Boston show and also being named one of Boston’s most fashionable people?
TM: There’s a lot of pressure being named one of Boston Globe’s most fashionable people, and also being nominated this year as The Daily Candy’s Sweetest Thing in the Fashion category. I used to just wear my lulu lemons out all day long. But now there’s this pressure to really look the part and put a good outfit together before leaving the house. (You never know who you might run into). But the pressure is kinda fun. It takes a really creative process to come up with a good outfit that works well and is perfectly accessorized. I am lucky to have a good husband who helps vote on whether outfits make the pass or not.
AS: What do you like most about making jewelry?
TM: I love the creative process. I have a million designs in my head, and on sketches that need to be realized. I just wish there were more hours in the day to accomplish them!
AS: What is the most challenging aspect of making jewelry?
TM: The most challenging aspect is making sure a piece is solid and wearable, and finding more hours in the day to design. The solidity of a piece is very important to me; I think it is because I come from a dental background, where foundation is so key. I hear a lot of people complaining because this or that piece of jewelry from another designer or a cheap design broke. A good piece of jewelry that is well designed should not break with normal wear and tear. (But ladies, I’m not saying to treat your jewelry like it’s a chain link fence or a set of handcuffs, it IS delicate, and should be handled with care) However, from standard normal wear, jewelry should not break. If you are buying disposable jewelry from an H & M or similar line, then you shouldn’t expect it to last forever either.
AS: What is the one essential item of jewelry a woman MUST own?
TM: A statement necklace.
AS: Where can people find your jewelry?
TM: Moxie on Charles St and in Wellesley, Serenella on Newbury St.
AS: Thank you Tonya! Have a Happy Chanukah. I definitely look forward to owning one of those gorgeous necklaces one day.
1 Comment | Visual and Performance Art | Tagged: fashion, jewelry, necklaces, Tonya Chen Mezrich, Tonya Mezrich | Permalink
Posted by Amy Steele
Cynthia von Buhler solo exhibition at The Nassau County Museum of Art
November 9, 2009
directly from Cynthia von Buhler’s web site:
In addition to having written the story, Cynthia von Buhler was also the painter, sculptor, interior decorator, mason, gardener, and plumber of the sets. The rooms were built by hand from wood. The stone walls were formed from plaster. The floors are handmade from inlaid wood, mother-of-pearl, and plaster. The characters were painted in oils on gessoed paper, then cut out and placed in the sets. The scenes were photographed by Cynthia with a Nikon D300.
The MiniArtMuseum at The Nassau County Museum of Art’s Mini Art Museum for Children in New York will be featuring these miniature sets and characters from But Who Will Bell the Cats? and The Cat Who Wouldn’t Come Inside in a solo exhibition from September 20, 2009 through January 3, 2010.
for more information visit the museum site
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Posted by Amy Steele
Art for Obama: book review
September 28, 2009
Art for Obama
Designing Manifest Hope and the Campaign for Change
Edited by Shepard Fairey & Jennifer Gross
publication date: October 2009
pages: 184 with 150 full-color illustrations
publisher: Abrams
Art for Obama is certainly a collector’s item for “fans” of the 44th president of the United States, Barack Obama, as well as those who love art that makes a statement. It is a beautiful coffee table book with 150 full-color illustrations throughout. President Obama stirred a grassroots political movement throughout the country and also inspired artists, illustrators and graphic designers.
The book is edited by Shepard Fairey and Jennifer Gross. Shepard Fairey shot to international stardom when his iconic “HOPE” portrait of Obama which soon became the face of the campaign. Fairey received a personal thank-you note from Obama. Shepard Fairey began his career with the ubiquitous OBEY GIANT graphics while a student at the Rhode Island School of Design in 1989. He’s known as a street artist. He likes to spotlight street art and enterprise with his work. It can currently be seen in an exhibit at ICA Boston. The show’s next stop is the Andy Warhol Museum in Pittsburgh, Penn.
Art for Obama includes collages, paintings, photo composites, prints, and computer-generated pieces from around the world by artist such as Ron English, David Choe, Kwaku Alston, Maya Hayuk, Justin Hampton, and Shel Starkman.
Ron English created an oil on canvas Abraham Obama—Barack Obama as Abraham Lincoln. “If you’re Will.I.Am, you make a hit song in support of the campaign,” English said. “If you’re Shepard Fairey, you create an indelible image of Obama. If you’re Sarah Silverman, you deliver a punch line with a purpose. Obama has also allowed a plethora of artists to interpret and disseminate his image, and those of us who had any involvement with the campaign were only nudged with one mandate—please stay positive.”
Diederick Kraaijeveld created a portrait of Obama out of vintage wood found on Mombasa beach in Kenya. Maya Hayuk made Here is Now out of acrylic and aerosol on Masonite and plywood. It is a mouth designed to allow people to put themselves inside the shouting instead of merely looking on. Out of vintage license plates, Aaron Foster created a collage Fifty States—One Union. Justin Kemerling made an ink and paint series on wood panels: HEAL for universal health care, UNITE about “green collar” economy, and CATCH for “renewable energy future.” Lisa Anne Auerbach knitted a very cool sweater and skirt. The front of the sweater reads My Jewish Grandmother is Voting for Obama. The back reads Chosen People Choose Obama. There are Jewish stars all around. It’s so amazing! Photographer Kwaku Alston traveled with the Obamas during the campaign and captured some fantastic pictures.
In photographing Obama Silhouette, Alston said: “I intended to hint at a familiar profile of JFK, the young presidential candidate who is unafraid of the challenges before him. The idea was to revisit the portrait, but to make a shift and try to create a timeless image.”
100% of profits from the book will be donated to the charity Americans for the Arts.
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Posted by Amy Steele
Roberto Benigni Does Dante
May 27, 2009
North American Tour of Benigni’s One Man Show– TuttoDante–
Begins May 26 in San Francisco and Ends June 12 in Chicago
For the past three years, two-time Academy Award winner Roberto Benigni [for 1999’s Life is Beautiful] has been touring in his native Italy with his one man show. TuttoDante is a celebration of the work of acclaimed Italian poet Dante. Benigni takes current events and interprets them and blends them through his own reading, study and love of the epic poem The Divine Comedy by Dante. During the final act, he recites the Fifth Canto in its original medieval Italian. The Fifth Canto recalls the tragic love story between Paolo and Francesca who are condemned to Hell for eternity for the sin of lust. His performances have now expanded to other countries such as Paris, London, Switzerland, and Greece.
I spoke with him by phone, from Rome, recently. His infectious spirit traveled through the phone and made me smile and feel energized. This theatrical project sounds like a remarkable work of love and generosity. Benigni is bringing Dante to people so that they will enjoy it as much as he does.
Amy Steele [AS]: How are you doing?
Roberto Benigni [RB]: Hi. We have to talk a little. Where are you right now?
AS: I’m in Boston, Massachusetts.
RB: Oh Boston. I envy you. I’ve never been there. I can’t wait to be there.
AS: You haven’t been here?
RB: No never. Never. But I know Boston is a marvelous, magnificent city.
AS: Well I haven’t been to Italy, so. . .
RB: No, really? Never?
AS: No. Only France.
RB: So we wait for you.
AS: So in Italy does everybody read The Divine Comedy very early as children or when do you first read it?
RB: Oh no, my goodness no. They start about age 15. They teach it in school this wonderful book and people don’t like it and they are forced to learn this book and they teach The Divine Comedy in a very particular way. Although it is so a popular book and full of mystery. Sometimes it is incomprehensible but we need sometimes to talk about incomprehensible things. It’s very healthy. It’s very healthy to talk about what is death, what is destiny, what is the Other World.
AS: What do you like about it?
RB: Oh what? Everything. There is not a single word in it that I don’t like. It is so perfect a poem that every single word, you know Amy, is perfect. Fleeing from The Divine Comedy is impossible. It is like fleeing from our own conscious. How can I say? There is no other human creation that places human conscious and human suffering at such a high point. And it is also the reach of The Divine Comedy’s beauty. Because it is beautiful. When you start to read Dante, you stop reading every other thing because it is the most glorious imagination.
AS: I haven’t read it yet. I know I need to read it.
RB: Yes it is really great. When I come to Boston I would really like to see you, because it is very rare in book. The flavor of happiness. It’s really something very special. In my opinion Dante is maybe the greatest poet of modern poetry.
AS: My boyfriend has read the whole thing and he’s an engineer and he doesn’t read that much. On his own time, he read it. We did go to a visual interpretation at a museum.
RB: Right it is a very visual poetry The Divine Comedy. You can touch The Divine Comedy it is a book that is alive. It comes to life from the nervous system. Something that appeals to the mind and the nervous system. It’s in the eyes of a woman and we will never forget this. Beatrice: So written you are eternal. He promised to write something for her that nobody did before. And he kept his promise. It is really unbelievable what he did this man.
AS: So why did you want to write a show from this?
RB: No it is a show, Amy. I am not a professor and I am not an intellectual and I am not a critic. The show is separated into two parts. The first part of the show is about our time. The second part is Dante’s Fifth Canto about lust and sex and passions and loves and they are related. We can see how the sentiments are related. This is one of the most popular Cantos. It is the story of Paolo and Francesca and why they are in Hell. We would like to understand why two people in love are in Hell. This passion that can guide us and is concerning us very deeply and profoundly. The beauty of the language, the sound of his Italian is a symphony. The old sounds like Beethoven, Bach and Jimmy Hendrix. It’s really something beautiful and unforgettable. It’s very beautiful in my mind.
I decided to make my show about Dante and thought I would lose some people. But you know what happened, Amy. I am doing what I really love. To present Dante is like a gift. To present the most luminous poem of Italian culture. So I try, and really I was so surprised because I thought I would make this about Dante for some months and now it’s been three years and I’m continuing to make the tour about Dante. Incredible. So beautiful, really moving.
AS: How do you keep it fresh?
RB: What I present is always different. I couldn’t say no because I’m changing the show. It is never the same. I cannot write because we cannot use subtitles. What I am saying is always different. I try to continue. Although I would like to make a movie now: a comedy. Without The Divine [Comedy] in it. The first part of the show is a moment of lightheartedness. It is carefree. I do some research. But little about the town where I am doing the show.
AS: So the main subjects are covered in Dante’s work that you are weaving through the whole thing?
RB: It is related and we can immediately feel that because Dante is a great poet. Everything you read about Dante is something that is concerning you deeply and you can feel that it is something that moves into your soul into your bone. He found words for sentiments we can hardly feel because we don’t have words for them.
AS: What should U.S. Audiences expect?
RB: [To see me on stage] conveying my passion for Dante. And also if only one person starts to read The Divine Comedy, this is wonderful. It is a big thing.
AS: I have an online Israeli friend who asked me to ask you a question that is not related to this but is related to Life is Beautiful. How do you respond to critics who state there’s nothing good that can emerge from the Holocaust?
RB: Life is Beautiful was a real tragedy and sometimes they were confused because I am a comedian. They said, “It’s a comedy about Holocaust, my God.” I never thought about comedy about Holocaust. Impossible. The movie was a real tragedy but was starting in a happy way and the ending was tragic. In making this movie I put all my love and respect. I couldn’t hold back the beauty of the idea. I had to say something about the Holocaust and this is my way. It was a comedy body in a tragedy.
AS: I look forward to coming to your show.
RB: Come visit me in my dressing room. I would like to know you Amy.
AS: Thank you for speaking to me. It has been a real pleasure.
North American Tour Dates:
Tues. May 26–San Francisco–Davies Symphony Hall
Sat. May 30–New York City–Hammerstein Ballroom
Tues. June 2&
Weds. June 3–Montreal, Quebec, Canada–St. Denise Theatre
Sat. June 6–Boston–Berklee Performance Center
Sun. June 7–Toronto, ONT, Canada–Casino Rama
Wed. June 1–Quebec City, Canada–Gran Theatre de Quebec
Fri. June 12–Chicago–Harris Theatre
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Posted by Amy Steele
