***RESCHEDULED*** After arriving in India, Indiana Jones is asked by a desperate village to find a mystical stone. . All Ages. Adults $6, Children (12 and under) $5.
After arriving in India, Indiana Jones is asked by a desperate village to find a mystical stone. He agrees, and stumbles upon a secret cult plotting a terrible plan in the catacombs of an ancient palace.
***RESCHEDULED*** When Dr. Henry Jones Sr. suddenly goes missing while pursuing the Holy Grail, eminent archaeologist Indiana Jones must follow in his father's footsteps and stop the Nazis. All Ages. Adults $6, Children (12 and under) $5.
When Dr. Henry Jones Sr. suddenly goes missing while pursuing the Holy Grail, eminent archaeologist Indiana Jones must follow in his father's footsteps and stop the Nazis.
One of America’s foremost comediennes continues to venture across an ever-widening range of media, starring in television, theater, motion pictures, animation and video. *Please note that this performance has been rescheduled for March 5, 2015 at 8:00pm.*
PLEASE NOTE THAT THIS PERFORMANCE HAS BEEN RECHEDULED FOR MARCH 5, 2015. ALL TICKETS WILL BE HONORED.
The Golden Dragons are recognized throughout the United States and abroad as the premiere Chinese acrobatic touring company of today. All Ages.
Danny Chang and his Golden Dragon Acrobats continue their relentless, 30+ year US touring schedule of centuries-old Chinese art form. Since 1985, they remain the only Chinese acrobatic company touring year-round in the United States, and present over 200 performances annually. In 2005, their Broadway debut and seven-week run at the New Victory Theater earned two prestigious New York Drama Desk Awards nominations (Angela Chang for Best Choreography and Danny Chang for Most Unique Theatrical Experience).
Answering the new market demand from US presenters, producer Danny Chang restructured the Golden Dragon Acrobats in 1998 to form Asian Artists Productions, Inc. or AAPI. While the new company continued to produce and tour the Golden Dragon Acrobats, AAIP expanded to create theatrically elaborate, resident-shows like Circo Magnifico, Dream, Pagoda, Cirque D’or and others, each for a specific US market.
"Cirque Zíva" is newest touring group from AAIP. The large cast and spectacular set designs illustrate the best of Chang's brand of artistic merit, high production value, and solid commitment to cultural exchange. Of special note is Cirque Zíva Lighting Director Tony Tucci, the recipient of two B. Iden Payne Awards and Critics Table awards for lighting, with credits including the video “Baryshnikov, Dancer and The Dance” and 1996 Summer Olympics Cultural Olympiad showcase. Zíva was created in 2011 for a 10-week engagement at Asbury Park Boardwalk’s Paramount Theatre, the first-ever summer run held at the venue in its more than 80-year history. An instant success in Asbury Park, earning critical acclaim and packed houses, the show burst onto the US performing arts circuit with a 55-city, 20-week premiere tour in 2013, and encore tour winter/spring 2014.
The guitarist who brought blues back to the charts in the '80s via songs that defined blues themes but added modern and personal twists.
ROBERT CRAY IN MY SOUL "First and foremost, the stories are where my heart lies," says Robert Cray. "In the blues guitar thing, most of the time, you carve out the section for the solo and that's really what the song is based on. And I love that, there's a time for that, but then I have to get back into the meat and bones of storytelling." With his seventeenth studio album, In My Soul, the five-time Grammy winner (and 15-time nominee) reasserts his position as one of his generation's great musical storytellers—this time steeped in the down-home sound and rich emotion of Southern Soul, yet never straying far from his incomparable guitar mastery. Produced by Steve Jordan, whose long list of credits includes extensive work with Keith Richards and John Mayer, the album blends funky originals with surprising covers, and captures a new configuration of the Robert Cray Band: long-time bass player Richard Cousins is joined by keyboardist Dover Weinberg (returning to the group, with which he played in the 1970s and '80s) as well as new drummer Les Falconer. Robert Cray is widely recognized as one of the greatest guitarists of our time. The New Yorker recently called him “one of the most reliable pleasures of soul and blues for over three decades now.“ He has written or performed with everyone from Eric Clapton to Stevie Ray Vaughan, from Bonnie Raitt to John Lee Hooker, and in 2011, he was inducted into the Blues Hall of Fame. But when it comes time for a new recording, Cray remains as open as ever to pure creativity. "In my recollection, we have never sat down and decided what kind of record we're going to make," he says. "This time, I knew we were going to do an R&B thing, because that's what we've done whenever we work with Steve, but we didn't have a concept—that develops because of the songs and the people who play on it." The first song they worked on for In My Soul was a Booker T & the MGs-style instrumental, written by Cousins and Hendrix Ackle; making no secret of the inspiration, they gave it the winking title "Hip Tight Onions" (as in the MGs three biggest hits—"Hip Hug-Her," "Time is Tight," and "Green Onions"). "That really helped set the tone," says Cray. "We ran that song for a bit, continuously playing that groove, and we got a feel for each other, and for Steve, and for a new tune. And from there, we fell into this real funk feel." Jordan, whom Cray describes as "almost a fifth member of the band," proposed a couple of covers—Otis Redding's "Nobody's Fault But My Own" and "Your Good Thing (Is About to End)," initially recorded in 1966 by Stax artist Mable John but later turned into a hit for Lou Rawls. "When I think of Robert Cray, I think of a great singer," says the producer. "Most people gravitate to his guitar playing because he's such a gunslinger, but I don't. He's got so much soul it's ridiculous. 'Good Thing' just sounded like Robert to me—it has a touch of jazz, and that strong, Chicago-based R&B in the Lou Rawls version. With the Otis tune, I just thought, 'Robert can eat this up,' and not a lot of people can do justice to that vocal." Cray countered with the idea of doing a song that would ultimately give the album its title, "Deep in My Soul" by the late Bobby "Blue" Bland. "I didn't want to change it—just do it pretty straight up as a tribute to Bobby, who was one of my real heroes," says Cray. The bulk of In My Soul, though, is made up of original material, composed by various members of the band. The album opens with the hard-charging "You Move Me," instantly identifiable as classic Cray, with his signature slicing guitar leads woven throughout. "I Guess I'll Never Know," co-written by drummer Falconer with Jeff Paris and Rick Whitfield, adds a slipperier groove to the mix, in the style of Willie Mitchell's productions for Hi Records. Bonus track "Pillow," available on a limited edition CD version of the album, began as a melodic snippet written by the late session guitarist Jerry Friedman, which Cray extended (complete with a sitar-like guitar effect) into what Steve Jordan calls "a '70s-Blaxploitation movie kind of vibe—it's Robert as Shaft!" "All the originals that came in were really good, and that's not always the case," says the producer. "It sure made my job easier—I just had to make sure the arrangements and sound and groove were right." Perhaps most notable is "What Would You Say?," an aching tune that finds Cray longing for a better world. "It's just a response to all that's going on—wars, disease, or just someone standing outside the supermarket asking for food or for a job. That's all part of everyday life, and I just had to talk about it." In My Soul includes plenty of Cray's blazing guitar work, which Rolling Stone recently said “introduced a new generation of mainstream rock fans to the language and form of the blues.” But he maintains that he's most excited about the way in which this project presents the complete Robert Cray Band. "I like that I got to play as part of a unit, as a quartet," he says. "That, to me, is just as much fun as playing a solo. There are lots of different grooves and styles on this record, and we had to give each song its own identity. That's where we're at as a band—the most important part is to lay down a groove that's going to carry the story. The solos are just icing on the cake." This year marks Robert Cray's fortieth anniversary as a musician, and with In My Soul, he is celebrating in style. He notes, with pride and with some amusement, that he continues to see new, younger faces in his audience. "There's a younger generation now whose parents turned them on to our music," he says. "It reminds me of when I was young and going to see Buddy Guy, Albert Collins, all the blues I could. It is kind of funny to be in the position of being the older generation now. But I'm just going to continue to do what we do. I can only do what I know, and we'll see what happens." -- IN MY SOUL TRACK-BY-TRACK You Move Me—"That's just a bluesy, upbeat type of tune, talking about my loved one, talking about the way she does me. It's a fun, simple, straight-ahead square beat, a nice rocking tune." Nobody's Fault But Mine—"An Otis Redding cover. All of us in the band, we grew up listening to that kind of music, and it's pretty dear to our hearts." Steve Jordan: "I just thought, 'Robert can eat this one up.' It's got the guitar stuff, but also the singing. Not a lot of people can do justice to that vocal. Also, we were looking for song to get vocals out of Les, so we approached this Otis tune like it was a Sam and Dave song." Fine Yesterday—"I'd been working on this over the summer and fall, and just pieced it together. It kind of has the feel of an early '60s thing, a song like 'Sitting in the Park.' I thought I would just be bold and go, 'What makes you think you could do something like that?'" Your Good Thing (Is About To End)—"That was Steve's idea. The cool thing is that when he mentioned it, I said 'Fantastic!'— I always loved that tune, and Dover happens to be one of the biggest Lou Rawls fans ever, so I knew it was going to go over big. But Steve didn't want to do just that version; it's really a combination of the different versions, the original by Mable John and also the OV Wright version. Steve said, 'Let's you and me go cut it,' and just the two of us went in and did it. We didn't rehearse, just played it and tried to make it as funky as possible." I Guess I'll Never Know—"A song about somebody losing their loved one. The cool thing about this song is that it's got a really funky beat, and it's co-written by our drummer, Les Falconer. It's nice and funky, almost reminiscent of a Hi Records, Willie Mitchell production." Hold On—"This one was written by Richard Cousins and Hendrix Ackle. We played it from the music they gave us, but then we changed up the lyric a little to make it more of a '70s Philly kind of thing. It's a departure from the Memphis sound, but still in that classic soul thing." What Would You Say—"A song that's about making the world a better place. Saying 'Can we do that? Can we help homeless people, can we try to cure diseases?' It's a response to all that's going on, from wars to someone outside the supermarket asking for food or for a job, all of that is part of everyday life. I was reading about Syria and the gas attack on those children—everybody forgets about kids during war and how horrible that is. So this is just how it came out, I just had to talk about it." Hip Tight Onions—"I don't think we've ever recorded an instrumental before. This was penned by our bass player, Richard Cousins, and his writing friend Hendrix Ackle, and it's a tribute to Booker T and the MGs." You're Everything—"Just a love tune, talking about how my world has changed because of who I'm with." Deep in My Soul—"I knew I wanted to do Bobby Bland tune, and I was banging my head as to which one. Then I found one CD with a massive amount of Bland songs on it, and I hadn't heard this one for a long time. I brought it in, and everybody loved it. I didn't want to change it—just do it pretty straight up as a tribute to Bobby, who was one of my real heroes. He came to see us before he passed, about a year and a half ago, he came to a show with his wife and son and just stood in the wings, and it was such a big honor, really cool." Steve Jordan: "We had nine or ten songs recorded, but we didn't really have a deep blues song—I wanted to get that feel, something riveting that lays the gauntlet down. Robert pulled out this song, and I had never heard it before. It was haunting and very deep, and the way he sang it, I got chills. You'd be hard pressed to think you could get as good as Bland did, but Robert gave a really extraordinary performance. Put that one on and you just have to shut up!" Pillow—"Steve had sent me a piece of music by a guy named Jerry Friedman, a great session player who played on 'Supernatural Thing' and a bunch of other stuff. It wasn't complete, there was no lyric, so we just kind of put it together—we started from music we had, tried to make it funky, came up with the idea for an electric sitar sound. It sounds great as instrumental, and we may still put it out like that, but the original title was 'You're My Pillow,' so we just kind of worked a story around that."
As a family moves into their new home, they notice strange events that mostly affect their young daughter. Ages 17+ admitted.
The Freelings are a typical suburban family. Husband Steve sells real estate in their ever expanding subdivision and Diane is a stay at home mom caring for their three kids, Dana, Robbie and little Carol Anne. Strange things being to happen in the house however: cupboard doors open on their own, furniture rearranges itself and chairs go sliding across the kitchen floor. It's a bit of whimsy at first but soon becomes deadly serious when Carol Anne vanishes into a nether world where, oddly, she can only be communicated with through the white noise on their television. A team of paranormal investigators move into the house but the forces that kidnapped are evil and powerful requiring the services of Tangina, a woman who has dealt with this situation before.
**NOTE: All Orchestra seating is general admission. If you want reserved seating in the balcony please choose "Loge Reserved" seating.**
Formed as a quartet in Chicago in 1998 and relocated to Los Angeles three years later, OK Go (Damian Kulash, Tim Nordwind, Dan Konopka, Andy Ross) have spent their career in a steady state of transformation. The four songs of the all-new Upside Out EP represent the first preview of Hungry Ghosts, due out in the fall on the band’s own Paracadute. This is the band’s fourth full-length and the newest addition to a curriculum vitae filled with experimentation in a variety of mediums. The band worked with longtime producer and friend Dave Fridmann (Flaming Lips, Weezer, MGMT), while also enlisting a new collaborator in Los Angeles, veteran Tony Hoffer, (Beck, Phoenix, Foster the People) to create their most comfortable and far-reaching songs yet. Building on (and deconstructing) 15 years of pop-rock smarts, musical friendship, and band-of-the-future innovations the EP, Upside Out, offers a concise overview of forthcoming Hungry Ghosts’ melancholic fireworks (“The Writing’s on the Wall”), basement funk parties (“Turn Up The Radio”), IMAX-sized choruses (“The One Moment”), and space-age dance floor bangers (“I Won’t Let You Down”). Drawn from the same marching orders issued to big-hearted happiness creators as Queen, T. Rex, The Cars or Cheap Trick, and a lifetime of mixed tapes exchanged by lifelong music fans, Upside Out is a reaffirmation of the sounds and ideas that brought the band together in the first place. The four songs provide an assured kick-off to a new sequence of interconnected performances, videos, dances, and wild, undreamt fun. “As the band has evolved over the last 15 years, the creative palette we work with has expanded in so many unexpected and gratifying directions,” says frontman Damian Kulash. “This record feels like it’s the musical manifestation of that — like we can speak in a clearer voice when we are playing in a bigger sandbox. Just as the band’s whole project became clearer to us as we learned to find more homes for our creativity — we triangulated it from more directions. And, I think the music itself has gotten more focused for similar reasons. We went in with fewer preconceptions of who we are or what our sound is, and came out with a record that sounds much more uniquely our own because of it.” Continuing a career that includes viral videos, New York Times op-eds, a major label split and the establishment of a DIY trans-media mini-empire, collaborations with pioneering dance companies and tech giants, animators and Muppets, OK Go continue to fearlessly dream and build new worlds in a time when creative boundaries have all but dissolved.
Pandora Dance Troupe at Cornell specializes in lyrical, ballet, jazz, and hip hop and puts on a show at the end of each semester.
This is a one of a kind, family-oriented blend of NONSTOP unique physical comedy, juggling, acrobatics and balancing skills of internationally acclaimed award winner Gregory Popovich.
The World Famous Popovich Comedy Pet Theater is a family-oriented blend of the unique comedy and juggling skills of Gregory Popovich, and the extraordinary talents of his performing pets.
Each of the show's 15 cats and 10 dogs were once strays, rescued from animal shelters.
Now, they love to show off onstage - by performing a variety of stunts and skits!
Audiences will be delighted to see this extravaganza of European-style clowns, amazing juggling and balancing acts, and of course, very talented performing pets. It's a show that both adults and kids of all ages enjoy!
Gregory Popovich, winner of many international circus competitions, and hi furry friends, buring their Comedy Pet Theater to Las Vegas after a world tour of more than 20 countries!
LYLE LOVETT A singer, composer and actor, Lyle Lovett has broadened the definition of American music in a career that spans 14 albums. Coupled with his gift for storytelling, the Texas-based musician fuses elements of country, swing, jazz, folk, gospel and blues in a convention-defying manner that breaks down barriers. Lovett has appeared in 13 feature films, and on stage and television. Among his many accolades, besides the four Grammy Awards, he was given the Americana Music Association’s inaugural Trailblazer Award, and was recently named the Texas State Musician. Garden & Gun recently called Lovett “one of America’s most beloved singer/songwriters,” and he was featured in the coveted “What I’ve Learned” column in the February 2012 issue of Esquire. Lovett has been touring in support of Release Me since its release in February. The album was #1 for several weeks on the Americana charts. Produced by Nathaniel Kunkel and Lovett, Release Me represents the end of an era as it was his last record for Curb/Universal Music Group after being on the label for his entire career. Release Me is quintessential Lyle, mixing a smart collection of originals and songs written by some of his favorite songwriters that show not only the breadth of this Texas legend’s deep talents, but also the diversity of his influences, making him one of the most infectious and fascinating musicians in popular music. Since his self-titled debut in 1986, Lyle Lovett has evolved into one of music’s most vibrant and iconic performers. His oeuvre, rich and eclectic, is one of the most beloved of any living artist working today.
JOHN HIATT Over thirty-five years after the release of his debut album, John Hiatt remains one of America’s most respected and influential singer-songwriters. As the Los Angeles Times once wrote, “(Hiatt) writes the funniest sad songs – and the saddest funny songs – of just about anybody alive.” John Hiatt’s songs have been covered by artists as diverse as Bob Dylan, Bonnie Raitt (“Thing Called Love”), Buddy Guy, Emmylou Harris, Ronnie Milsap, Iggy Pop, the Neville Brothers, Rosanne Cash (the #1 country hit, “The Way We Make A Broken Heart”), the Jeff Healey Band (“Angel Eyes”), Willie Nelson, Steve Earle, Linda Ronstadt, and even the cartoon bear band of Disney’s 2002 film, The Country Bears. He earned a Grammy nomination for his album Crossing Muddy Waters, and B.B. King and Eric Clapton shared a Grammy for their album Riding With The King, the title track from which was a Hiatt composition. In 2007, John Hiatt was honored with his own star on Nashville’s Walk of Fame and his legacy was even further cemented with a pair of accolades in the fall of 2008: the Americana Music Association’s Lifetime Achievement Award for Songwriting in September, and his October induction into the Nashville Songwriters Hall of Fame. With seven solo albums already under his belt, Hiatt’s A&M debut, Bring The Family (1987), was his breakthrough. His rootsy, rock-country-blues fusion – performed with guitarist Ry Cooder, bassist Nick Lowe, and drummer Jim Keltner – was Hiatt’s first charted effort, and he was subsequently named Best Male Vocalist in Rolling Stone’s annual Critics Poll. Bonnie Raitt would later cover the album’s “Thing Called Love” on her multiplatinum smash, Nick Of Time, and fan favorites “Memphis In The Meantime” and “Have A Little Faith In Me” have been covered by artists from Joe Cocker and Delbert McClinton to Jewel. In the last few years Hiatt has released Same Old Man, The Open Road, Dirty Jeans & Mudslide Hymns and most recently Mystic Pinball all to critical acclaim as All Music Guide declares “And for a guy who has cranked out four studio albums in five years, Hiatt is having a great run as a songwriter…”
With a dragon who’s lost his poof, a neurotic gypsy woman and a magical cast of characters, this hilarious twist on the classic fairy tale will delight princes and princesses of all ages.
Let your hair down in this charming new musical by Janet Yates Vogt and Mark Friedman (How I Became A Pirate). The evil enchantress Lady Za Za has banished Princess Rapunzel to the deep, dark, dank, dismal, dreary forest in an effort to rule the kingdom herself. It is up to handsome Sir Roderick and his hairdressing side-kick Edgar to restore the kingdom as they also search for true love and a perfect head of hair. Will they find everything they are looking for in Princess Rapunzel? With a dragon who’s lost his poof, a neurotic gypsy woman and a magical cast of characters, this hilarious twist on the classic fairy tale will delight princes and princesses of all ages.
Contender for the title of greatest blues guitarist ever, with a fiery, screechy, super-quick technique that influenced countless followers.
Buddy Guy is one of the most celebrated blues guitarists of his generation (and arguably the most celebrated), possessing a sound and style that embodied the traditions of classic Chicago blues while also embracing the fire and flash of rock & roll. Guy spent much of his career as a well-regarded journeymen, cited as a modern master by contemporary blues fans but not breaking through to a larger audience, before he finally caught the brass ring in the 1990s and released a series of albums that made him one of the biggest blues acts of the day, a seasoned veteran with a modern edge. And few guitarists of any genre have enjoyed the respect of their peers as Guy has, with such giants as Eric Clapton, Jimi Hendrix, Jeff Beck, Keith Richards, Stevie Ray Vaughan, and Mark Knopfler all citing him as a personal favorite.
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