The OMNI Ensemble will conclude its 30th season of concerts in the recital hall at the Center for the Performing Arts at the College of Staten Island, 2800 Victory Boulevard on Thursday afternoon, April 18th at 3:00 pm and at the Brooklyn Conservatory of Music on Saturday evening, April 20, 2013 at 8:00 pm. Music Director/Flutist David Wechsler will be joined by guest artists Erika Banks, vocal, Jim Ponzi, guitar, Art Bailey, keyboards, Jennifer Vincent, bass, and Dave Forman, drums.
Each spring, the final production in Wagner College's Stage One studio theater lineup is a new program of choreography called the Dance Project. The 2011 Dance Project is an original piece called 'Looking for the Remote,' created by world-renowned performing artist Claire Porter, Wagner College Theatre's first artist-in-residence. 'Looking for the Remote' will be staged from April 26 through May 1.
Each spring, the final production in Wagner College's Stage One studio theater lineup is a new program of choreography called the Dance Project. The 2011 Dance Project is an original piece called 'Looking for the Remote,' created by world-renowned performing artist Claire Porter, Wagner College Theatre's first artist-in-residence. 'Looking for the Remote' will be staged from April 26 through May 1.
The William & Eva Fox Foundation and Theatre Communications Group (TCG), the national organization for theatre, are pleased to announce the five recipients for the fifth round of the Fox Foundation Resident Actor Fellowships.
In the dry mountains of New Mexico, an Iraqi oud (lute) master raises homing pigeons. Persecuted for a single potent song, he fled his native land, only to be deprived of his beloved instruments at the border. Yet like the birds he cares for, he has homed in a new nest, where quarter tones can be urged from accordions, rock stars and classical violinists can play Iraqi maqam, and Middle Eastern lullabies echo in Pueblo Indian words.
In the dry mountains of New Mexico, an Iraqi oud (lute) master raises homing pigeons. Persecuted for a single potent song, he fled his native land, only to be deprived of his beloved instruments at the border. Yet like the birds he cares for, he has homed in a new nest, where quarter tones can be urged from accordions, rock stars and classical violinists can play Iraqi maqam, and Middle Eastern lullabies echo in Pueblo Indian words.
