Josh, one of our new music reviewer’s arrived to a full house at the Tote in Collingwood on the weekend, for the launch of Ferla’s new album Guilt Pop / Stay Posi.
‘It was packed, nearly overflowing, an Indie rock sound, a bit electronic; in the genre of Sticky Fingers. The crowd was ‘very alive’ and tuned in; mostly hipsters. ‘
Giuliano Ferla. hit the high notes easily whist being supported by a band that infused his mood, the synthesiser player engaged the audience with a complex construct of layered chords, one on a keyboard and synth on the other. Ocean Party, and dewy garage Girlatones. were the supporting bands and Loose Tooth DJs spun the tunes for the night.
Ferla engaged with the audience and explained the development of the lyrics with personal insights.
“Imagine your life as if you wanted nothing at all.”
It was a great evening, showcasing a talent that has arrived after a many performances, a terrific line-up and an evening that engaged the respect of the audience.
“There was a great vibe.” Josh
“If its on spotify its definitely going in my collection.”
On a mild Winter weekend, Melbourne’s Music elite came together to honour the songs of Bob Dylan before a full house at the Memo in St Kilda. Friday night was dedicated to acoustic Bob and on Saturday night, it was electric Bob.
The ‘All-Star’ back up band, consisting of Benny Franz, Stephen Hadley, Ben Wiesner , and Shane O’Mara , melted seamlessly into each other, but it was guitar legend O’Mara that stole the night with his stella performance. It was a group of musicians fit for the honoured legend himself.
Who is Bob Dylan? Songwriter, Poet or Prophet; Jew or Christian? His lyrics resonated with the crowd that held resolute with dignified appreciation of the words and the artists. Loud talkers were quickly hushed.
Come gather ’round people Wherever you roam And admit that the waters Around you have grown And accept it that soon You’ll be drenched to the bone. If your time to you Is worth savin’ Then you better start swimmin’ Or you’ll sink like a stone For the times they are a-changin’. Come writers and critics Who prophesize with your pen And keep your eyes wide The chance won’t come again And don’t speak too soon For the wheel’s still in spin And there’s no tellin’ who That it’s namin’. For the loser now Will be later to win For the times they are a-changin’. Come senators, congressmen Please heed the call Don’t stand in the doorway Don’t block up the hall For he that gets hurt Will be he who has stalled There’s a battle outside And it is ragin’. It’ll soon shake your windows And rattle your walls For the times they are a-changin’. Come mothers and fathers Throughout the land And don’t criticize What you can’t understand Your sons and your daughters Are beyond your command Your old road is Rapidly agin’. Please get out of the new one If you can’t lend your hand For the times they are a-changin’. The line it is drawn The curse it is cast The slow one now Will later be fast As the present now Will later be past The order is Rapidly fadin’. And the first one now Will later be last For the times they are a-changin’.
Each vocalist made his songs their own and each captivated the audience. Liz Stringer was haunting, almost gothic as her lone figure shone in the darkness etching the words and reaching into the void. Song-bird Lisa Miller was mesmerizing and thrust the show forward, her talent is palpable. Chris Wilson’s scratchy soul voice penetrated into the mind of the listener, like a dark cry and ‘Raised by Eagles’ duo Luke and Nick raised the tempo with a bit of rockabilly. All of the vocalists on the night where exceptional.
A memorable evening.
“Shane O’Mara is a Melbourne music legend and of Liz Stringer, you need to get her last two albums.”
George Orwell’s 1984 , adapted by Robert Icke & Duncan Macmillan, is currently playing at the Comedy Theatre.
‘You don’t have to be an expert to know that Newspeak is the only language in the world whose vocabulary gets smaller every year.”
Unwriting people, removing words, controlling thoughts was Orwell’s dismal view of the future. The play explores the tragic demise of the human spirit with brutal clarity.
Winston played by Tom Conroy, is man of fear that falls prey to the Party machinery by daring to hope. His Partner in crime, the fierce and splendid Julia (Ursula Mills) is a vision that bursts into his life to set it ablaze for a brief moment.
The wooden interiors and costumes seem reminiscent of the 50’s when the book was written, a generation looking through the keyhole of the condition of the world in 1984. There are no clumsy cream PC’s or the continuous screening of the Iran- Iraq war that dominated our tv’s, in the 80’s. In its essence, the rich nostalgic settings creates a longing for something personal and contrasts the horror of The Ministry of Love.
The Cast, in 2 minutes of Hate
The acting,direction and effects are flawless. Fiona Press as Mrs Parsons is formidable, by merely stirring a caldron, she captivates a mood that seeps onto the stage.
The Lighting (Natasha Chivers), Sound (Tom Gibbons) and Video Designer (Tim Reid) are major players in the production and carry the full power and might of Big Brother. It’s a beautifully crafted masterpiece, the sets have amazing attention to detail and border on the sublime.
“Nothing is believable, everything is manipulated, it’s unfortunate for humanity”
Do you think the play has any relevance to you? MP
“Which agencies are believable and which aren’t , its awful and in the end all you have is your own soul and that’s ripped apart as well.”
So what did you think about the play?
“It’s done amazingly well , there is nothing held back”
Would you recommend it?
“Very much , I want the world to see it”.
Some audience members had to leave midway in the final act, it is confronting.
As the MICF circus wraps up, 2 clowns sent it off with a bang.
The afternoon show at ACMI was the icing on the Festival, after a series of ‘Stand up’ wit and profound observations we discover a new territory. These Guys have nothing to say, it’s what they do that suspends reality and slaps you in the face. Throughout the performance the unexpected continued to surface from beneath the banal.
Confused? Good , that’s a great start.
You will be bewitched within a Dadaists performance of an office mundane that imploded into the wild and creative instinct of lifes little dramas. Bit by bit they shatter through reality to reveal a seething internal existence with comic twists.
Intrigued? I hope so, it is an intriguing experience.
No matter how sober you think you are, they will pick up your solid piece of reality and twist it until you feel entirely happy. Like an animal can become a chair, a thing can become an animal. They are very clever Consultation Specialists.
Welcome to Ruck’s Leather Interiors starring Gareth Grubb (Trygve Wakenshaw) and Dennis Chang (Bernie Duncan) as Performance Artists.
Where did you Guys train? MP
“I didn’t do training but Ttygve went to Gaulier, a French Clown School in Paris.”
How did you get into this? MP
“I always made theatre, we started a Company (Theatre Beating) about 14 years ago, and we made stuff we liked”
“I never dreamed that I would ever see two people entertain me from the time they started right up until the very end. Everything that happened was totally unexpected , it shocked me, it was so funny and you never knew what was coming and everything that came was brilliant.”
This Charming Man, the very affable Matt Stewart draws in a full house as he gives a ‘Dry’ dose of ‘Very Dry’ at The Chinese Museum in Chinatown. He has taken his routine out of The Fringe and into the Melbourne International Comedy Festival, for a fresh round of laughs.
Getting to the venue is half the adventure, up the street hustle of Chinatown and into the historic site that sets the tone for the nights event. Stewart is unassuming, able to ‘break your guard’ whist never pouncing..
The key to his art is his unflinching delivery as he stares into the bright lights that veil the audience. He promises to give ‘A pretty Good Show ‘ It’s most likely one of the top ‘Pretty Good Shows’ on the circuit.
Even though Matt’s not your mate, he could be. With comic cool he creates a friendly rapport as he spins absurd Aussie tales and butters it with wacky wisdom. He is edgy with a blunt delivery. ,
As a Caped Crusader, Stewarts superpower is to engage, indulge and transfix.
The MICF Show is in town and Three Course Comedy is the show-bag of comic treats. Each night 3 Comedians take the stage to give you a sample size dish of their material. It’s a great way to be exposed to a range of comic styles, with a line up that changes each night.
James Bowen Gallery director
Fort Delta Gallery
MP went to the very ambient Fort Delta Gallery in Howey Place to be amused by Tim Hewitt, Adam Knox and Michael Shafer
Tim Hewitt warms up the Crowd, as first up in ‘Three Course’ line-up.
Hewitt is soaking in the City culture of MICF after doing the ‘hard yards’ in the parochial wilderness of Pokies Den’s and Greyhounds. The comics life may be rich in experience but it may not afford holidays to remote islands with Supermodels. There are compromises.
Hewitt has a personal warmth that endears the crowd, his suburban tales ‘touch a nerve’ and there are outbursts of laughter throughout the room.
With two comedians to follow, the routine manoeuvres speedily through his visual landscapes.
Also performing ‘Comedy Zone’ on the MICF circuit.
‘Knoxie’ is next
Knox brings a mix of cultural anomalies to his performance wrapping his clever wit around some pearls of insight. He wavers between action, concern and an offhand remarks. He establishes an instant rapport with the audience before entering his comfort zone, once there, he opens up to the deeper issues that concern him, like a mate does.
Knox is also a part of Chimp Cop Forever
Shafer breaks away from his sellout solo performance Jewis-ish to join his mates in this 3 course round-up. His routine is a bite sized, sped up sample of what audiences can expect to hear at the full show. Shafer continues to polish his work with diligent effort, comedy is not a vacation it’s his vocation.
Shafer manages to lead the course through the choppy waves of perception and throws out a line to the women in the audience, those that may be floundering in the male shallows.
Michael Shafar held his own at the momentous Trades Hall, that scrubbed up nicely, awash in neon for the MICF 2017.
Shafar is an eclectic blend of cultural experiences that have shaped and unshaped him. He is sorta Jewish, sorta Aussie,sorta cool, sorta nerd, sorta serious but definitely funny. His shows are selling out because the word is out, Shafar ‘nailed it’ this year.
Shafar examines his Jew-ish-ness with perplexed wonder. His grandfather was a Holocaust survivor and its more the ‘religousness’ than the faith that is up for review. He has a wealth of material to draw from that keeps the audience in stiches through out the performance. The crowd loved him and there was a reluctance for the show to end
MICHAEL SHAFAR is Jewish-ish at TRADES HALL Mar 30-Apr 23 8.30pm (no Wed & 7.30 on Sun)
Entry Stairs to Show
An interview with Michael Shafar
“I used to encounter a lot of anti-Semitism when I was playing football for my Jewish school. I played from the ages of 12-16 and it was interesting and sad to encounter kids making anti-Semitic comments. I’m interested in whether those kids actually understood what they were saying, or if they were just repeating taunts that they had heard from their surroundings.”
How do you feel about your performance this year?
So far I’ve been really happy with the shows. I’ve changed up a lot of the content since I last performed it in Perth and have also changed the overall structure to make the theme about being culturally Jewish a lot stronger. I think it’s definitely working better now.
What type of reaction have you experienced from Jewish-ish?
So far the reactions have been great. A lot of people have messaged me to let me know they enjoyed the show. It’s interesting to me how different people tweet different jokes to me from the show, so it’s nice that there are a lot of different jokes in there that people remember and relate to.
What has been your most profound experience? MP
“The Comedians I met in the US were young, emerging comics who taught me a lot about work ethic. In the US, comedians are often gigging 15 times per week, which is why their development is accelerated. I tried to absorb that work ethic as much as possible so I try to gig as much as possible around Melbourne.”
Do Comedians support each other?
“Whenever there is a controversy about something that a comedian has said or done, comedians tend to help each other through it.”
Is MICF different for you this year?
It’s different because it’s my first solo show, so it’s definitely a lot busier than any other year. I also need to manage my time a bit better than previous years, making sure I still get enough sleep, eat well and exercise (which I have failed to do for the first few nights, so hopefully I get more disciplined!)
The Australian Ballet presents new original work from current Choreographers that explore dance within our contemporary setting. The three acts are Faster,Squander and Glory and Infra.
There are no tutu’s , all are stripped down, very physical performances with strong male leads and a sense of urgency.
” I love the story telling and its ability for anyone to create their own interpretation and take away a unique experience.”Kevin Ho
The richness and pain of life takes place behind closed doors in our most intimate spaces. The drama of being unfolds, between the gaps of daily life. The ‘must do’s’ have no time for the intimate condition. The ‘must do’, is the daily travel to the daily toil. The other stuff is the real us.
English Choreographer Wayne Mc Gregor of the The Royal Ballet, explores the intimate in contrast to the business of life. As rich and deep as our lives are or are not, we dwell within a larger context . Those that fall out of the ‘infra’-structure, fall alone.
The ballet explores social and political content in dance, yet it is deeply sensual. There is a tribal call away from the world into the instinct. The male soloist that stands in for that call, is memorable in its power.
SQUANDER AND GLORY
Both Australia and Melbourne can be glad to boast of a choreographer as creative and insightful as Tim Harbour. Like INFRA, Harbour seems to be exploring the complexity of intimacy and power. Kevin Ho’s structure appears like a sculpture but looms as much more. The dancers sway to the cult of obedience as though the monument dominates them.
“The negative spaces that surround me…an instinct to carve out those shapes” Harbour
Visually every aspect of the work is sculptural, even the music seems to be in the act of carving. Every muscle in the dancers bodies seems to have been used to create texture, using light and shadow to enhance the effect.
Faster opens the triple bill, created in 2012, the year of the London Olympic Games, choreographer David Bintley recreates the drama.The Games are the ultimate statement of giving up everything to be first. To place it last rewinds us to how we got there. Faster, Greater and Better? How much personal ambition does it take to be a winner.
The dancers within Bintley’s work interchange into human and non-human parts. They may be a spinning disc or an abstraction of an ego. It explores the outer and inner world of the athlete, the frustration and self-abasement to the harmony of the work coming together within a united self.
This Triple Bill offers contemporary Ballet lovers, a physical. emotional and creative journey. They are raw and sensual Ballet’s that allow the dancers to explore new physical boundaries of space and movement.
Arts Centre Melbourne, State Theatre Mar 17-27
Sydney Opera House, Joan Sutherland Theatre Apr 7-26
Ironically, it is a storm that opens the tale of The Tempest, but here on the banks of the Maribyrnong River it is a brewing storm that ends it. Melbourne’s fickle weather has once again cast its cold spell on an outdoor event. It has ‘undid’, subverted and prevented the ambition of this ‘goodly’ play. The stunning performance that was on Friday and Saturday was ‘naught’ on Sunday.
What could have been is; Prospero, performed by Brendon Ewing, dark with revenge and drawing his past into the currents of his macabre island home, seeking familiar company with unkindly aims, that give way to kindness sway. This tale untold, due to weather, it had to fold, so the cast did the next best thing, they sang.
Sly Rat Theatre Co.’s artistic directors Alan Chambers and Andy Harmsen have created a unique vision for The Tempest, inspired by science-fiction classics. The Pipework’s Natural Museum is a beautiful outdoor space, rich in atmosphere and a perfect setting for a summer picnic, weather permitting.
“It’s a Rock and Roll version of Shakespeare, it’s very loud and very big”Director Andy Harmsen
Within the warm hub of the group, a buzz with laughter, singing and the smell of burnt sausage, it is easy to forget that the cancellation of a show could be disappointing, they are taking it so well. It’s a chance to catch up with some of the actors and chat about their role’s, the few that aren’t belting out a tune.
First up is Todd Levi
“We like to push the boundaries but still tell a great story.. it’s Shakespeare, how he would like it done today…Its bawdy, its real and it is entertainment first and foremost. Prospero has been marooned on a magical island, betrayed by his sister and he’s been there for 12 years. He spies the evildoers sailing by and raises a tempest, a storm that shipwrecks them on the island where he prepares to take his revenge. It’s the search for redemption the final words of the play are; ‘As you from crimes would pardon’d be, let you indulgence set me free’
What made you choose this venue? MP
“It’s a magical place, it’s a place where the community comes and we played here last year to over 2000 people … most of them had not seen live theatre before, let alone Shakespeare, and playing to an audience like that and seeing them fall in love with it”
Did you factor in the weather? MP
“You don’t expect to have nine shows of good weather every-time, hopefully this is our one and only cancellation.”
Next up is Tara Hauton
“Steph and I play the clowns, technically it’s the Court Jester but Andy and Alan have re-invented it to be two women who have been to the races all day long and have arrived at the play. We exist outside the world of the play and that’s where the comedy of the role happens…we are very drunk.
and Ty Holdsworth
It’s a play about weather, most Melbournians can relate to that.
Sly Rat Perfomance
Tempest in the park
Fri,Sat & Sunday nights at 6.30 until March 5
Pipework’s Natural Museum Park on the banks of the Maribrynong River
At the Launch of Teeth & Tongue’s new Album ‘Give up your Health’.
‘Lead singer Jess Cornelius, an urban soul vocalist in the genre of Patti Smith, has a smooth rich voice that rides through intriguing electronic arrangements.’ MP
‘Give Up on Your Health’ had its genesis in one rogue song. ‘Turn, Turn, Turn’ that was originally recorded as an experimental track with a driving, arpeggiated synth sound, drawing on ’70s electronica. The label liked it so much they wanted a full album to go with it. So on the heels of a breakup, Cornelius retired to remote Iceland on a three-month Nes Artist Residency, which produced the heartbreaking ‘Small Towns’.
“We’ve got unavoidable contact. There’s always email and phone. I went as far away as I thought I could. You’re dying in the heat, I’m dying in the cold” – Small Towns
The rest of the album was written in Melbourne, where Cornelius brought the material to the band: guitarist Marc Regueiro-McKelvie, bassist Damian Sullivan and drummer James Harvey.
“I wanted to make an energetic dance-pop record, but with substance,the kind you’d put on when you’re driving down the highway, forgetting all the stressful stuff.” Cornelius
Alannah Woods our music reporter went to Remote Studios to review the album and interviewed the lead singer Jess Cornelius.
Your songs are quite different from each other, where do you get your inspiration? AW
“It’s usually stuff that’s going on ..a process of working out why I am feeling things”
Do you write the music? AW
“Sometimes; I’ll bring a song to the band, just the lyrics, maybe a guitar bar, the structure and the melody, then sometimes the guys will write their own arrangements or I’ll write parts for them .. it’s a mixture. They definitely write, we just work it out.”
Who inspires you musically? AW
“It changes so much … Lou Reed has always been a big one, songwriters like Nina Simone..”
Tell us about your albums? AW
“I’ve done 4 Albums, the first was just me but I got other people to play on it.For this one the four of us, not the keyboard player, have been together for a few years, we did the 3rd album together..it’s been a bit like adding people along the way”
So it was your original idea?
“Yeah I started out as a soloist.”
‘What I love is that she takes every part of her life and turns it into a song, it doesn’t necessarily have to be depressing, there’s a genuine depth. Jess has a great sound that could be compared to jazz, very soulful ..” Alannah Woods
Australia is a large country and each year Tamworth becomes the heartbeat of the Country Music scene. 2016 ARIA winner, Sara Storer took the Female Artist of the Year award and her composistion ‘Amazing Night’ won the ‘Best Bush Ballad’ honor at the festival.
“Sara has a unique way of seeing and expressing her observations of love and life in the bush. So she is a songwriter that will be remembered beyond her lifetime.”
This is quite an acclaim, coming from one of Australia’s Country Music Giants.
Storer’s craft is spun from her personal experiences and local insights. She has a 4am routine to keep ahead of the busy demands of her large family. Her local accent, the unique twang of our region is apparent in her work as she sings about the Australian life.
‘I could sit here all night, fall asleep in this chair.The fire beside me keeps the Dingos away.And its sure nice to be with you around this burning red gum, that’s what a campfire does, it takes my worries away’ (Lyrics from Amazing Night)
At the heart of every urban dweller is the distinct belief that ‘Waltzing Matilda’ is the countries informal National Anthem and this is a paradox of the Nations identity. There is a little bit of ‘country’ in all of us.
Storer is currently on tour promoting her new album Silos.
For warm weather the best time to come to Melbourne is between November and April. The winters may not be as harsh as Europe or Canada but Australia is not built for cold weather, it is a beach culture. Houses are poorly insulated and the southerly winds will cut through a thin coat. Melbournians wear layers because random weather changes are expected.
When the sun is out the locals are basking. There is a mass exodus to the coast in January, Easter and Public Holidays, if your planning an Ocean Road tour during these times book early. Bayside beaches fill up and most Tourists head for St Kilda but South Melbourne and Brighton Beaches are more relaxing.
Inner city Melbournians, get up early on Saturdays and have breakfast together in Cafes, the best places fill up quickly. On a hot afternoon, the South Melbourne market has great outdoor seating under a large golden canopy, enjoy Mediterranean cuisine and a glass of wine. Expect to eat dishes from all over the world, each new flood of settlers has brought their food culture with them and each gets its day in the spotlight. Currently everything is ‘infused’ with something Asian.
Sth Melb Market
If the weather turns foul, which means the ‘cool’ (freezing) change came early, head to the NGV Gallery at Federation Square and take in some Australian Art. The City is proud of its Artists but Sport is given most sponsorship. The Art is world-class but under promoted.
NGV Australia ; FedSq
Sandra Hill’s; Beyond The Pale 2010 (currently on show at NGV Fed Squ.
The Docklands is a relatively new development with ‘state of the art’ architecture, just behind the Southern Cross Station on Spencer St. It has a futuristic opulence , a skating rink and the Southern Star.
Trains and trams are the main form of transport and very well mapped, it’s easy to follow.The MYKI card works for locals but is not visitor friendly as you have to buy it to get around. Transport inspectors can be a bit intimidating so it’s important to get one. Currently the City has all night transport on Friday and Saturday nights.
Great places for dinner are Smith, Gertrude and Brunswick Streets in Fitzroy. It’s a fabulous block of ambitious ambiance. A historical area where hustlers and artists have had ‘their day’. but currently it is urban cool.
Melbourne has great theatre but if you want to catch a local act for under $30, after dinner there are some quaint venues; The Butterfly Club, La Mama, The Owl and Cat and The Meatworks, (just to name a few) are close to town and have their own character.
Butterfly Club City
Owl & Cat Richmond
Raglan St. Nth Melb
Mechanics Sydney Rd
Bars are numerous and many are tucked into the lane network that are the life beat of the town, most often decorated with great Street Art. Roof top bars are great on hot nights but most places have outdoor heating when it’s not great.
The highlight of Summer is the Australian Open and the best place to watch it is at Federation Square in a sun-chair. Despite Australian pride of designer beer and class wine most public places are dry. On New Years Eve drinking is banned on public Bayside beaches so cancel the beach party.
Melbourne was once called the ‘Garden State’ as we like our trees. When its too hot for the beach there are great Botanical gardens and the Ripponlea Estate offers shade and a cafe. The changeable weather has created a fashion consious culture and there are plenty of shopping strips and malls to cater for discerning tastes or a bargin.
Mirka Mora @ Gorman
Summer essentials are thongs and light coat. We all talk about the weather; we complain when it’s hot and when it’s cold. It is so unpredictable it is treated with suspicion.
The Woman in Black is a psychological thriller with a mystery at the heart of it. It takes the audience on an imaginative tour, where their own thoughts interplay with the drama before them.
“they saw things that didn’t happen in the show” Justin Stephens, Director.
Stephens is drawing upon 25 years of theatre experience to present this production with two key actors, Chris McLean and Kieran Tracey, that are ‘on top of their game.’The Woman in Black” is a horror novella written in 1983 by Susan Hill. The play has startled audiences around the world.
Don’t expect to be spoon-fed, its a subtle work with confounding possibilities. Flawless acting, clever direction and trick lighting; engage the minds of the playgoer. The ‘not seeing’ creates the atmospheric conditions of strangeness.
“Creating a vision of actors on a journey” Stephens.
Ironically, Stephen’s acting career began in an effort to combat an early speech problem. Many successful artists have grown from adversity into major success stories;such as Warhol,Beethoven, Einstein and Dali, just to name a few.
“The power of theatre and how it can transform” Stephens
The drama explores tragedy, the coping and non-coping elements, of the human experience. All those memories that haunt and prevent us from a full recovery, are confronted in a dire straits situation, where he/we must face our fears.
“Even the most rational minds can play tricks in the dark” from James Watkins 2012 film version.
A menacing and sinister fog welcomes the audience into a Gothic drama that explores the space between life and death. It’s a well written play, beautifully executed by the actors with atmospheric effects that conjure an unsettling mood. There is a lavish opulence of poetry and theatrics in thick layers. It is theatre at its best, it is a work of Art.
Now all the criminals in their coats and their ties Are free to drink martinis and watch the sun rise While Rubin sits like Buddha in a ten-foot cell An innocent man in a living hell. That’s the story of the Hurricane, But it won’t be over till they clear his name And give him back the time he’s done. Put in a prison cell, but one time he could-a been The champion of the world. (Bob Dylan)
The Exonerated portrays a world of brutality coinciding with human triumph and transcendence.
The Sol III Company is a theatrical company founded due to its affiliation with Rubin Hurricane Carter and his work with wrongfully convicted prisoners and prisoner rehabilitation initiatives. The company uses the medium to raise awareness and much needed funds for programs in prisons in the U.S.A and Australia, and also aids with the legal costs of exoneration of the wrongfully convicted – most notably David McCallum III (pictured) who was exonerated after wrongfully incarcerated for 29 years.
“In 2013, I made my global journey to meet with Rubin & my beloved friend, David McCallum, at Otisville Correctional Facility in New York,” said Sol III Company Founder & Artistic Director, Andrei Schiller-Chan. “After many years of exchanging letters with David and emails with Rubin’s team, I was about to meet a man who changed my life, despite the fact he was living behind concrete and barbed wire.
The play focuses on the triumph of the human spirit trapped wrongfully within the prison industrial complex.
Andrei Schiller-Chan brings a transcendental philosophy to the theatre, seeking to create a world of empathy for another’s suffering and generate positive change and communication to right wrongs. His close friendship with David McCallum serves as the inspiration for this production.