New Immersive Play Makes You Pick A Side In The Battle For Oz Speakeasy Society’s The Kansas Collection takes place after Dorothy’s departure and focuses on the unrest that grips Oz now that the Wizard has been exposed for a fraud. The Scarecrow and his camp are firmly anti-magic, believing the smoke and mirrors that surrounded the disgraced wizard are the root of Oz’s strife. Unfortunately, this means the new regime has also cracked down on good magic, which, as you recall, was a key element of the witches of the north and south. The audience is left to learn about each faction jockeying for power, and to choose whom they will pledge their allegiance. It can be confusing at times, and there seem to be multiple points at which one can decide to be a double agent. Adding to the disarray is the fact that time flows differently in Oz, meaning you might not be able to trust when you are, let alone who you are with. If starring in your own cloak and dagger, fantastical spy movie sounds appealing to you, you might want to jump on The Kansas Collection before the story progresses too far. Each show lasts about 15 to 20 minutes, but offers space to hang out, socialize, have a glass of wine, and glean information from other guests, who may be on a different path than your own. At $15 a ticket, it’s a deal. If you’re just getting started, you can do a few things. You can read this spoiler-filled recap of The Key here, though this account is only one possible track. If you go, you may have a different outcome. Or, you can wait for Speakeasy Society to re-stage The Key and The Axe, which they are planning to do in March. Get tickets here, or follow them on Twitter for the latest updates here.
What song did John F Kennedy ask Judy Garland to sing to him on the phone? A new memoir by “The Wizard of Oz” star’s third husband Sid Luft, which was crafted from notes Luft left unfinished before he died in 2005, tells how Garland was introduced to JFK by Peter Lawford and his wife Patricia, Kennedy’s younger sister, when Kennedy was a junior senator from Massachusetts. “JFK was young, lanky and extremely outgoing,” writes Luft in “Judy and I: My Life with Judy Garland.” “He asked Peter and Pat to introduce him to ‘Dorothy’ in the flesh.” Garland and Kennedy struck up a friendship, and as Luft wrote: “In the coming years, JFK would ring Judy from either the White House or Camp David and ask her to sing to him over the telephone.” “He’d request ‘Over the Rainbow,’” continued Luft. “Judy was located somewhere in New York and obliged the President with several renditions of his favorite melodies.”
How I was seduced by the ‘Dark Side of the Rainbow’ phenomenon Speaking in 2010, Pink Floyd drummer Nick Mason moved to debunk the theory: “It’s unthinkable that we would have felt that it was really important to work with Judy Garland, and devise an album based on that particular story. So I have to say that sadly, both the Tin Man, and the Scarecrow, and all the rest of it, had absolutely zero to do with that particular record.” In fact, audio engineer Alan Parsons has said the band were actually watching Mary Poppins during the ‘Dark Side of the Moon’ sessions. Yet while it’s clear the band want absolutely nothing to do with the fan theory, it hasn’t stopped the speculation from mounting, with devotees convinced that even if the Floyd didn’t plan ‘Dark Side of the Rainbow’, the album and the film were somehow cosmically destined to work side-by-side. According to cognitive psychologist and musician Daniel Levitin, there is a hint of truth to this idea: “We are a storytelling species,” he tells LWLies. “Our entire left hemisphere is a great confabulator – it makes up evidence before the facts are in. So yes, we have an inherent need to match things up.” Levitin is referring to the phenomenon know as ‘Apophenia’, the human tendency to perceive meaningful patterns within random data. And with fans already claiming that Star Wars: A Force Wakens – a film released 42 years after Pink Floyd recorded their masterpiece – syncs with ‘The Dark Side of the Moon’, it’s hard to refute his theory.
REVIEW: ‘Dorothy and the Prince of Oz’ by Tulsa Ballet Three years and $1 million in the making, “Dorothy and the Prince of Oz” more than delivers on the magic. Visually, this is a stunning, almost overwhelming, thing to watch unfold, with Basil Twist’s dynamic, animated sets and puppets that fully evoke some amazing places and things, highlighted by Daniel Brodie’s inventive projections and Les Dickert’s sensitive and dramatic lighting. Mark Zappone’s costume’s are as colorful as pocketful of gemstones, and the score assembled by Oliver Peter Graber, mixing pieces by Glazunov, Bartok, Ravel, Grieg, Scriabin and others and tied together with Graber’s original compositions, was in spite of its patchwork nature, richly dramatic and cohesive. Choreographer Edwaard Liang, who created Tulsa Ballet’s new production of “Romeo and Juliet” in 2012, worked with Graber to devise an original story for “Dorothy and Prince of Oz,” inspired by sections of Baum’s final Oz book, “Glinda of Oz,” and his choreography tells this fairly complex tale clearly and concisely, crowned by a series of duets that are as incredibly demanding as they are emotionally expressive.
Emerald City Season 1 Episode 7 Review: “They Came First” Emerald City packed a lot into one episode this week. In “They Came First,” we got a witch hunt, a bit of romance, and a few betrayals. I think this episode was solid, and it looks like next week will be even more exciting with a huge battle sequence, and I expect it to be amazing. The graphics are not the worst, and for just season one of Emerald City, there is a lot to prove. Will you turn in next week to see who wins?
Wizart Trailers Melnitsa’s ‘Fantastic Journey to Oz’ Just ahead of its presentation at the European Film Market in Berlin, Russian animation studio Melnitsa and distribution partner Wizart have released a brand new trailer for Fantastic Journey to Oz — an animated feature based on the children’s stories written by Alexander Volkov and set in L. Frank Baum’s magical world. Inspired by the 1963 book Urfin Joos and His Wooden Soldiers, Fantastic Journey to Oz unfolds as the cunning and wicked Urfin plots to rule Magic Land, capturing the Emerald City with his army of wooden soldiers and renaming it “Urfinville.” But his devious plans can’t last, as Dorothy returns to Magic Land just in time to help the Scarecrow, the Tin Man and the now-brave Lion save their home by uncovering Urfin’s true identity.
“For a full-length animated feature film, it is highly important to create a simple family story to strike a chord with audiences all over the world. In this field, innovative technologies just help us to meet creative challenges and make the film more exciting and spectacular for the audience. The movie tells us about simple morality and values close to everyone,” said Konstantin Bronzit, an Academy Award nominee (We Can’t Live Without Cosmos) and Fantastic Journey to Oz creative producer.
Tulsa Ballet presents the premiere of ‘Dorothy and the Prince of Oz’ The production, budgeted at $1 million, features a set design and puppetry by MacArthur “Genius Grant” recipient Basil Twist, costumes by noted designer Mark Zappone, and a score arranged by internationally known composer Oliver Peter Graber that combines music of Alexander Glazunov’s “The Seasons” with Graber’s composition. It also tells an original story inspired by the world created by L. Frank Baum in the 14 books he wrote that began with “The Wonderful Wizard of Oz,” which Liang and Graber crafted from elements of the final book in the series, “Glinda of Oz.” The plot of “Glinda of Oz” centers around a war between two factions in a far-off region of the Land of Oz, and how Dorothy Gale, the heroine of “The Wonderful Wizard of Oz” and most of the other books in the series, is tasked with resolving the conflict. The only problem, said Angelini, “is that the book is all about the war. There is no love story, and without love there is no ballet. So Edwaard and Oliver brought in what I think is a compelling love story that makes a real impact.”
Follow the Yellow Brick Road to Jersey City for the ‘Wizard of Oz’ The Yellow Brick Road leads to Jersey City on Sunday when Puppetworks brings “The Wizard of Oz” to Merseles Studios for a months-long run. “The Wizard of Oz has always fascinated me, even as a kid,” said Olga Levina, artistic director of Jersey City Theater Center. “I read many of the Oz books growing up, and even saw theater productions, before I even saw the famous movie. Dorothy goes on a quest to find the Wizard and she discovers the value of her friendship with the cowardly Lion, Straw Man and Tin Man and they all learn to rely on their own inner strengths. This is children’s theater that teaches kindness, telling a story through exploration and self-growth, where important life lessons are realized.” Special “Marionette” effects include a tornado that transports the story’s heroine from her home over the rainbow to Oz, a monkey that flies and a melting witch, and a hot air balloon ride.
Feminism, decapitation, and talking jigsaw puzzles: the wonderfully weird world of Oz creator L Frank Baum This week Emerald City, a stylised retelling of The Wizard of Oz, arrives on British TV. In the US its disturbing imagery – cruxifixitions, hands covered in jewel-like boils, a Wicked Witch of the West who “vomits” spells – has already led to the show being called the most insane version of Oz yet. But how could Emerald City possibly be stranger than Wizard of Oz author L Frank Baum (1856-1919) and the even stranger world he created in his much-loved children’s books? Let us count the ways…
THE JUDY GARLAND SHOW Channel Comes to StreamNet.TV ft. Streisand, Minnelli & More LAStreamNet.TV is adding 26 one hour episodes of THE Judy Garland SHOW Channel to its platform. This historic collection of 26 one-hour-long episodes includes an unprecedented list of guests including Barbra Streisand, Mickey Rooney, Count Basie, Lena Horne, Tony Bennett, Ethel Merman, Bob Newhart, Donald O’Connor, Peggy Lee, Steve Allen, Jane Powell, Peter Lawford, Vic Damone, Jack Jones, and Garland’s daughter Liza Minnelli, among others. Judy Garland also performed solo concert performances as part of this amazing, wonderful TV show. In 1962, the CBS Network won the right to broadcast Judy Garland‘s musical variety show in an unheard-of pact worth $24 million. From June 1963 through March 1964, the one-hour episodes were videotaped at CBS’ Television City in Hollywood, California. There are once-in-a-lifetime musical pairings and duets between Garland and her guests. This collection is the only remaining audio/video in existence of the legendary diva at her physical and vocal peak.