November 4th by the writer of Kingdom

Hip hop poem about the election. Words by Aaron Jafferis. Music by KronZilla. Thanks to Angela, April, Daniene, Derrick, Dexter, Dontae, Doug, Gabe, Hillary, Jay, Jessie, Joel, Kesa, Laki, Layla, Liz, Magalis, Mike, Red.

---------------------------

Lyrics:

My father was African, my mother American.
I have brothers blue-black, and cousins with fairer skin
who pale in comparison to Sarah Palin.
Like blues, my family trees roots shoot
deep through the earth, but only in America
could my parents have given birth to me.
Conceived when cultures
collided and made love, previously divided states
(of mind) united and gave blood and life.
Husband and wife split the difference between
hope and change, between cope and pain,
and even though they split, all of it their hope and pain
still fit in their sons open brain
and over time became his/my over-arching aim:
give me your tired, your poor, your huddled masses,
give me liberty from war, lift, lift the underclasses,
and if this economy looks fundamentally strong,
your fundamentals are wrong
or youre looking through muddy glasses,
or your fundamental heads are stuck up your metaphorical...

Ask me who I am, and I will tell you true:
my name is not Barack, though this is his story too.
My name is hip hop. Its my history Im telling you:

My father was African, my mother American.
I have brothers blue-black, and cousins with fairer skin
who pale in comparison to Sarah Palin, who isnt
the only illustration of true-blooded Americanism.
Like blues, I am he whose family trees
roots shoot deep through the earth,
but only America could have given birth to me.
I was given the gift of speech, and I use it
to outreach and uplift the youth, and if you
wanna use me as a servant to you in order to form
a more perfect union, then do...organize

and do mobilize and open eyes to truth and show that lies
misled the poor and led to war and broken lives.
Do give the tools to cope and rise,
and as the movement grows in size
and breaks the ropes that hope defies,
and as the youth vote multiplies,
well break the race right open wide,
wide open eyes will vote
and take this nation by surprise. Surprise!

I am the native son, the bought and traded one,
the sometimes hated drum talking of change to come,
I am the underrated, the wonder-if-hell-make-it one,
the character-assassinated but still not jaded son,
even though over time I become the front-page-aided one,
the allegedly overrated, celebrity-associated one,
some people thought I blew up and went pop-
ular, grew up and then dropped the urban
working class who, from first to last, I have worked
to bring from last to first, and if you think my values
are in trouble...your (thought) bubble is burst.
I still cast my lot with the tired, the poor,
the huddled masses. Give me liberty from war,
lift, lift the underclasses, and if this economy
looks fundamentally strong, your fundamentals are wrong
or youre lookin through muddy glasses,
or your fundamental heads are stuck up your metaphorical...

As for us:
if hip hop is the entrance to what is in store
lit hot from the embers of what came before,
if Barack is the belief that God demands more
than a war in Iraq and abandoning the poor,
if America can stare itself in the face and be sure
we want to end poverty, and end endless war,
then we are the ones we have been waiting for.
You are the ones you have been waiting for.

Your name is...My name is...
Our name is...
Our name is America, our very existence, a miracle.
We survived insistent attempts to make our lives unbearable.
Dehumanize us, brutalize and downsize divide us,
still we rise through the work of the multitudes inside us.
Though generations have lived and died,
we pride ourselves on our youth
and keep our eyes on the prize of that self-evident truth
that we know is not a lie even though Americas broke:
Our birthright is equality. Our inheritance is hope.
Our name is America, and you better be ready,
cause on the 4th of November, we are going to vote.

ReVISIONIST HISTORY IN THE MAKING

by Tom Chesek
Red Bank Orbit

Steven Brinberg brings his uncanny and un-campy Streisand characterization back to Asbury Park, when ReVision Theatre Company presents a special performance of FUNNY GIRL.

Red Bank has the Two River Theater Company and its gleaming, glass-facade showplace of a home stage. Long Branch boasts the New Jersey Repertory Company, which works some pretty potent magic in its converted downtown storefront while they preparing for an eventual move to new custom-made digs.

There’s a third professional stage company headquartered in this neck of Monmouth County, and if you haven’t quite processed the name ReVision Theatre Company, don’t sweat it. The based-in-Asbury Park troupe is still really getting itself established, having set up shop in Asbury’s historic VFW building with a busy slate of classes, workshops and readings.

And when we say it’s “based in Asbury,” we do mean that its members use the whole city as their canvas; inhabiting historic halls, rejuvenated business buildings and long-vacant boardwalk structures like a bunch of wondrous hermit crabs.

These are the guys, after all, who famously teamed with boardwalk developers Madison Marquette to convert the amazing Carousel building into a viable venue for live performance — something it had never managed to be in its long history — when they mounted their smash revival of Hair: The American Tribal Love-Rock Musical last summer. And to think they almost considered moving to Paducah.

An actual season’s worth of entertainments was always on the drawing board for ReVision’s triad of Producing Artistic Directors (Thomas Morrissey, David Leidholdt and Stephen Bishop Seely; all veterans of Manhattan’s Genesius Theatre), and this past Saturday night, the partners and board president Bob Angelini convened a special season announcement party at Mattison Park Restaurant, itself a re-visioned bank building. Red Bank oRBit, as you probably figured, was on the scene, working the room and knocking back rootbeer martinis.

The cast of ReVision Theatre’s HAIR posed with the groundbreaking show’s co-creator James Rado, when he took in one of their sold-out performances last August.

Cast members of Hair were on hand, performing numbers from the 1967 show as well as from a couple of the new projects announced onstage by the producing partners. As Liedholdt, Morrissey and Seely revealed to the packed house, the ReVision company’s inaugural season begins in earnest on December 4, with the East Coast premiere of Scrooge in Rouge, a “British music hall Christmas Carol” that puts a manic spin on the well-roasted holiday chestnut.

In the comic piece conceived and adapted by book writer and lyricist Ricky Graham, a circa-1900 theatrical troupe is in the midst of preparations for their Christmas Carol show when seventeen of the twenty actors take ill — leaving three intrepid players to perform 23 Dickensian characters in what can only be described as a tour de farce. Presented at Asbury’s VFW Post 1333 on Lake Avenue and Bond Street, the show offers sixteen performances through December 28.

ReVision returns in 2009 with Kingdom, a “Hip Hop musical” study of two friends from the barrio whose need to belong — in this case, to the Nation of the Latin Kings — tears them apart. Featuring a score by Aaron Jafferis and Ian Williams, the show runs from April 16 to May 3 at the VFW building.

Last summer, the ReVision crew presented a one-shot fundraiser event at the historic Paramount Theatre; a revival of Hello Dolly! starring Carol Channing tribute artist Richard Skipper in the role made famous by Channing herself. “In the spirit of Dolly,” ReVision takes over the Paramount once again on July 11 for a benefit performance of the Jule Styne-Bob Merrill musical Funny Girl. Steven Brinberg, an actor-vocalist whose celebrated portrayal of Barbra Streisand has won him raves throughout the cabaret circuit (including Tim McLoone’s Supper Club) channels Babs as Fanny Brice in the show that made her a star.

Still coming together as we post this, ReVision’s summer-show production of The Full Monty comes to a location that’s yet to be determined, on the confirmed dates of August 12 through September 6. Acclaimed playwright Terrence McNally wrote the book to David Yazbek’s musicalization of the hit British film, in which a group of unemployed steelworkers find a new sense of purpose as male strippers. Doing this show in the round at the Carousel would make it the Full Monty and then some.

Info on single-ticket prices and subscription plans can be found right here. Watch Red Bank oRBit for updates; and we’ll let David Leidholdt have the last word.

“We have three specific challenges,” says the veteran director. “To find pieces that represent us, to develop shows that are able to be produced anywhere — and to get people off the beach and into the theatre!”

James Rado with the Cast of ReVision Theatre's Production of HAIR

Newsflash: Hippies Spotted In Asbury Park "Hair" on the Boardwalk

By Philip Dorian
Two River Times
August 22nd 2008

On opening night of Hair at the Carousel on the Asbury Park boardwalk, heavy rain (precipitation) fell during the song about snow (not precipitation). Dripping through the roof in several spots, including onto the stage, the rain did not dampen the spirits of the show's anti-Vietnam War protesters or of their adoring capacity audience. The particular scene is a hippie be-in, and the downpour brought us all, audience and cast, together for a precious two hours.
That's what Hair was supposed to do, before we traded tie-dye for navy blue and activism for going-along-to-get-along. Two years ago I wrote that Hair, 40 years after emerging as the American Tribal Love-Rock Musical, had become passe and that its relevance might be mainly historical. Dated Hair is, but despite some valid criticisms, ReVision's quality re-vision makes for a valid time-study. Director Andy Goldberg imbued his energetic cast with respect for the era as well as the material.
Don't go to Hair looking for a plot or even a linear story. It's New York City, 1968. Claude (Casey Gensler), drafted to serve in Vietnam, vows to burn his draft card and refuse induction. In the end he does go, with predictable consequences.
Claude's tribe includes his sex-and-drugs-obsessed friend Berger (Scoop Slone); his girlfriend Sheila (Ephie Aardema); Jeanie (Julia Arazi), who's pregnant by Claude; Hud (Kyle Taylor Parker), a tough "colored" guy; sweet, vulnerable Crissy (Marah Meese); and diverse hippies.
Claude is ambivalent about serving, while Berger is in the 'hell no, I won't go' camp. Gensler and Slone, contrasting types, match up well. Their friendship rings true.
Musically, The Tribe rediscovers "Aquarius," Good Morning Starshine" and "Let the Sunshine In" with enthusiasm and "Frank Mills" gets the proper wistful treatment from Meese. Ms. Aardema, an accomplished singer, is a potent presence throughout, and Arazi makes of pregnant Jeanie the waif you want to protect. Britt Johnson's cameo as a curious tourist is a comic highlight.
Hair ushered in the era of amplification, and there is a tendency for companies to treat their theater spaces like 15,000-seat concert venues. ReVision is no exception. The band, offstage at the rear, provides excellent backing, but a sizeable portion of the lyrics is lost in vocal volume and over-amplification, a significant flaw, considering the absence of a coherent book. While a choreographer is listed, the dancing is free-form and more Stone Pony-ish than stageworthy.
On the big-plus side: Most of act two is Claude's war-themed hallucination. Vietnam is represented of course, as are the American Revolution, the Civil War, both World Wars and '60s Civil Rights issues. The extended scene can be as fuzzy as Claude's drug-addled brain, but here it's clear as a bell and ethereal all at once. Director Goldberg uses the Carousel's many aisles and levels, and costumer Steven Epstein's creations blend accuracy with a sense of humor. The second act works better here than anywhere else I've seen it.
The fortitude that turned the recently-decrepit carousel building into a viable theater venue is praiseworthy in itself. What a pleasure to see Asbury Park's Boardwalk, virtually deserted for decades, bustling again with shops, strolling couples, laughing teenagers and, would you believe, even theatergoers.
"Hair" runs through August 31 at The Carousel, south end of the Boardwalk in Asbury Park. Performances are Thurs-Fri at 8pm; Sat at 7 and 10:30; and Sun at 7pm. For tickets ($35): 732-455-3059 or online at www.revisiontheatre.org
About Hair's fleeting nude scene: Here it's semi. A few of the 17 hippies are starkers and a few topless, but the once-shocking display is redundant now anyway - silly even. Of far more importance, the audience is not invited on stage to dance with the cast after the curtain call. C'mon, ReVision; get with the program.

"Hair' grabs gold ring

Scoop Slone, Casey Gensler and Ephie Aardema are co-stars in ReVision Theatre Company's production of "Hair," being staged at the carousel house in Asbury Park.
(Dennis Carroll)

August 19, 2008

by TOM CHESEK, Asbury Park Press

What a piece of work is "Hair: the American Tribal Love-Rock Musical" that caught Broadway with its pants down more than 40 years ago.

Welded to its Summer of Love origins, devoid of all but the barest-bones plot points, populated by the sketchiest of characters, the 1967 show created by James Rado and Gerome Ragni might have been little more than a vanity project for its writer-stars if it weren't for one crucial distinction — those songs.

Working with composer Galt MacDermot, the authors crafted a set of generational anthems, emotional ballads and satiric sing-alongs that stand very well on their own, even as they shoulder the entire weight of moving the show along. All this, without owing a thing to the conventions of Tin Pan Alley's Golden Age.

Along the way to revolutionizing the whole musical template as practiced in postwar America, "Hair" managed to shed a number of Broadway bugaboos — against sex and drug references, interracial romancing and liberal dropping of the f-bomb, to name but a few. Most of all, it's famous for the shedding of clothing, which the cast does during the "Be-In" sequence that forms the climax to the first act.

ReVision Theatre Company, the new professional troupe based in Asbury Park, has selected this unorthodox show as its first extended-engagement production — and they've opted to do it in an unorthodox venue, the Carousel building that adjoins the old Casino at the south end of the boardwalk.

Unless you're a recovering 1990s skate punk, you probably haven't been inside that historic roundhouse for many years; not since the hand-painted ponies of the old wooden ride stampeded out of state. Boardwalk developer Madison Marquette has done a tremendous job getting the unique structure up to speed as a live performance venue, a purpose it was never designed for.

Director Andy Goldberg (whose 1970s-retro tribute to the Aussie pop group Boney M was a smash on European stages) and the ReVision team have also worked hard in orienting this show to its unusual space, keeping the cast of 17 actors mostly above the audience on a central riser, side platforms and scaffolds.

As Claude, the conflicted "Tribe" member whose drafting into the Vietnam-era army forms the crux of the drama here, Casey Gensler shares the spotlight with Scoop Slone, who displays some solid rock-star cred as the Puckish, self-centered Tribesman Berger. If anything, however, "Hair" is an unusually democratic show in which pretty much everyone gets their turn to shine — with stand-out moments delivered by Kyle Taylor Parker ("Colored Spade"), Julia Arazi ("Air"), Mike Russo ("Don't Put It Down") and Ephie Aardema ("Easy To Be Hard").

Special kudos should go out to lighting designer George Hansel, who's met the considerable challenges of rigging and illuminating this oddball space with an effort that pays off in full during the extended "trip" and hallucination sequences of the second act.

Celebrating diversity with 'Hair'

Asbury Park troupe stages alternate production to one in Central Park

Monday, August 18, 2008
BY PETER FILICHIA

To paraphrase a famous Cole Porter lyric, is it Granada he sees, or only Asbury Park?

Both, in fact. Thomas Morrissey feels that ReVision Theatre, the new troupe he's co-founded, is in the right place and time to benefit from Asbury Park's continued renaissance.

"And because we're in such a diverse community," he says, "we decided to put on the most diverse show we could: 'Hair.'"

The famous 1968 rock musical had already been announced for a summer engagement in New York City's Central Park before Morrissey and his partners, David E. Leidholdt and Stephen Bishop Seely, chose it.

In Asbury Park, the musical is being staged in the Carousel on the Boardwalk by Andy Goldberg, who had an off-Broadway hit with "The Bomb-ity of Errors." Scoop Slone, the lead singer of the rock band Maslow, stars.

The 54-year-old Morrissey and his co-artistic directors are expecting a great many Baby Boomers.

"We'd like it if people from Deal and Spring Lake would drop by, too," he says. "They embraced 'Hair' when they were young, for this was the generation that broke the rules and helped change the perception of the Vietnam War.

"But," he says, "these kids believed they had the answers, and we now know they weren't always right. Sex and drugs don't cure things. So 'Hair' offers the good and bad of the era."

It was quite a different musical that got Morrissey interested in theater.

"'My Fair Lady,'" he says. "My parents and I came to New York from Davenport, Iowa, when I was about 5. Pretty soon into it, I whispered to my parents, 'I want to do that when I grow up."

"That," however, didn't necessarily mean performing, though Morrissey did plenty of that in community theaters and children's stages in Iowa.

"When I did summer stock," he says, "I became more aware of what it takes to put on a show. So I watched the people who did lights and sound. I went to the box office and learned the system of ticket-selling. I checked out how the press agents wrote their press releases. It wasn't just about performing for me."

In the '80s, Morrissey worked as a house manager for two Greenwich Village theaters and became a member of the illustrious Circle Repertory Company.

"It got too entrenched in doing one specific kind of play," Morrissey says, "and then it seemed to be repeating itself. And that's why they closed down."

Morrissey responded in 1995, a year before Circle folded, by starting a company called the Genesius Guild, named for the patron saint of actors. It centered on developing new work. ReVision, though, will do new and old works, hoping to mount three next year in a space that will become a 300-seat theater.

A redevelopment company named Madison Marquette has greatly helped. "They rehabilitated the Paramount Theatre in town, and they gave it to us for a recent benefit. That went so well, they gave us some money to do 'Hair,' too."

So sure is Morrissey that ReVision will succeed that he's bought a home in Asbury Park, though he's keeping his Manhattan digs as well.

Only one question left, and Morrissey knows it's coming before it's asked. "Yes, of course, we'll do the famous nude scene."

Peter Filichia may be reached at pfilichia@starledger.com or (973) 392-5995.

Woof's Super Fruity Party Punch

posted by Karl Wilder
Sunday, August 17, 2008
Fusion on the Fly Blog
http://chefprivato.blogspot.com/2008/08/woofs-super-fruity-party-punch.html



For those of you who thought that the Public Theatre's production of Hair was too clean, that it lacked grit, soul, energy, love, sweat, tears and anger; run, or take a train to Asbury Park, New Jersey and see this definitive production of the Love Rock Musical Hair. Staged by the Revision Theatre .

I was in a cast many years ago and have seen this show in several incarnations and have never been left with such a powerful punch as this version provides. If for any reason the director and choreographer of the Public version do not go to Broadway the producers need look no further than Andy Goldberg (director) and Elisabetta Spuria (choreographer) to find the talent needed to have audiences on their feet, not because they have been invited to join a Mama Mia type dance party, but because they have been touched deeply.

From the moment the lights come up and Aquarius begins as the souls of our pasts are given a summons from a Royal medium the chills begin. All around us the ghosts appear and as they grow stronger in voice they become real and it isn't a nostalgic look back, we are there. It's 1968 and we are at war, young men are needlessly dying in a war we know is wrong.

The voices are powerful and strong as the past comes to life as real and vital as anything we have experienced.

Many versions of hair make Berger the 'star'. Here we see him on his own methadrine trip, one of those selfish types who talk a good game and will someday be a Republican excusing his life with a yearly cheque to some charity.

As we become fully a part of the tribe, the tribe moves above us, around us, in front of us immersing us in their world.

When Claude sings 'Where do I go?" and the cast turns to him in the final chorus we are a part of them beseeching him to join them in being free, not to give his life for some idiotic thought of patriotism. We as the audience know no matter what the sacrifice, nothing changes.

As the show draws to a close we want them to stay, celebrate their youth just a little longer, be a part of something important, sing and dance for as long as you can. Don't become us.

It can't happen.

We know who they are, and we know who they will become. A population that has allowed the president and the congress to run roughshod over our constitution. We, who are complacent sheep going along with anything to be perpetuate the illusion that we are 'safe'. We who as the lights go on and souls of who we used to be depart sit stunned with tears in our eyes for what we have allowed ourselves and our country to be.

Theatre this evocative should run much longer than 3 weeks. The City of Asbury needs to give this amazing company an extension on the Carousal building and when it finally closes spend their resources turning the space into a Theatre, not some wasteful shopping court. If equity is an issue, guys bend your rules, you do it all the time to screw actors. Bend them again to give them a chance to be seen.

I'll make the trip to New Jersey again for this, but not to buy a pair of sunglasses.

Go to the website, read the names, remember these performers. Keep your eyes on them as they continue to work and hopefully fulfill the promises so many of us have failed.

So how do we go from here to a punch recipe? Hey, I'm a food writer, it may not always be a smooth transition but what is?

The one thing I remember about the 60's was punch, fruit juice (always eventually spiked) was served in big Christal or glass bowls. As hard as this cast works an Angel Hair pasta recipe just wouldn't cut it. They need something to rehydrate as they skinny dip til the sun comes up.

2 cups sugar
1 huge ginger root cut up
2 cups water

Warm the water on the stove and simmer the ginger root in the water for 30 minutes then stir in the sugar to make a syrup.

1 cup lemon juice
1 cup lime juice
1 cup unsweetened Cranberry juice
1 cup Cherry juice (tart if you can get it)
1 cup Pineapple juice
7 cups water

Once the syrup is made, stir in all the fruit juices and chill. Serve like a lemonade over ice and if the party calls for it spike it with some booze. Vodka, rum, or tequila blend best with fruit juices, but hippies can't be choosers so use what you've got.

Best served at final cast parties to celebrate a job well done. For this cast I would man the Barbecue at no fee, and I'm expensive.

Ephie Aardema, Julia Arazi, Casey Gensler, Kyle Taylor Parker, Marah Meese, Mike Russo, Scoop Slone, Keith Antone, Steven Charles, Joay Caldwell, Spiro Gallatsatos, Martin Gould Cummings, Deidra Grace, Iliana Inocencio, Britt Johnson, Hannah Shankman, Anita Welch

The Band
Brian Green, All Coffey, John Gronert, John Manga, Jim Mcilvain, Steve Pleasnarki, John Luckenbil
Band Conductor: Andrew Hertz
Set Design: Russell Michael Scramm
Lighting: George Hansel
Costumes: Steven Epstein
Sound: Simon Ghezzi
Assistant Director: Heather Foard
Associate Set Design: Dawn Von suskill
Production Stage Manager: Julie Meyer
Assistant Stage Manager: Ann Marie Chiatia
Music Direction: Andres Hertz
Choreography: Elisabetta Spuria
Director: Andy Goldberg