We recently auditioned for Metro Theater’s “Wonderland” as a musician and actor(?) and although we felt extremely uncomfortable, choked on the guitar, and wished we did more audible sounds in our physical acting exercise, we’re excited to have been offered two speaking roles and to play music throughout the production.

Down the rabbit hole we go!  More info as it comes!

Syna So Expanding!
Wonderland

We’re having a wonderful time utilizing Central Library’s Creative Experience!  This will be our third workshop we’ve done in the last year, with two more slotted throughout the rest of 2018.

We decided to do this workshop as an answer to the many folks who’s asked us to give them looping lessons.

“Looping lessons“, we thought.  “How would we do that?”

Understanding that some people want to master their equipment as quickly as possible, or they are having trouble figuring out the signal pathway, or visualizing the many ways loops can be utilized, we thought the easiest option was to do a free workshop on the subject.

Live Looping Best Practices

The workshop was interactive, giving the participants intermittent times throughout the 2.5 hours a chance to execute what they learned.  One they got a handle on a topic, we gave them more directives and advice to consider and dropping them back into the loops they were creating.

At the end of the workshop, we played everyone’s final loop they were tweaking, building, layering and mixing for all participants.

We had the honor and privilege to be apart of A Call to Conscience, Inc‘s production of Beah Richard’s “A Black Woman Speaks” poem.  She was a political artist and activist with a long career on stage, screen and television. She is better remembered by her stage name Beah Richards and the 1967 Oscar-nominated role as Sidney Poitier’s mother in Guess Who’s Coming to Dinner, her Tony Award- nominated performance in James Baldwin’s The Amen Corner (1965), or even her role in the 1990’s as Dr. Benton’s mother on the long running television series ER for which she won two Emmy Awards. Her political commitments led her to make a career out of playing older women in a range of politically charged films and stage performances.

Watch Beah herself perform her poem below.

Our role in the production was to provide sound design, soundscapes and music to accompany the poem.   Thomasina Clarke was the sole performer for the poem and sent chills down our spine all three nights at The Griot Museum of Black History.

Bob Wilcox and his crew had this to say about the production:

We were very pleased to work with Fannie Lebby, Linda Smith, Thomasina Clarke and Vivan Watt.
ABWS