Belinda Carlisle - ​Still bringing the beauty and the beat

Belinda Carlisle 

​Still bringing the beauty and the beat

Anyone who had a radio in the 1980's remembers the distinctive sound and the hit songs of the Go-Go's. Their album "Beauty and the Beat" went multi-platinum with hits like "We Got the Beat" and "Our Lips Are Sealed." We asked Belinda Carlisle several questions about her life and her upcoming show at the King Center in Melbourne, Florida.  http://www.gaytravelersmagazine.com/belinda-carlisle.html

Ringo Starr & His All-Starr Band concert review by Steven Skelley

Ringo Starr & His All-Starr Band concert review by Steven Skelley

Ringo Starr & His All-Starr Band is everything you'd want and expect from a rock-and-roll icon and his band of hand-selected all-stars of rock-and-roll history. 

If you are one of the lucky people to have caught a concert by one of the 12 variations of this eclectic band, you'll have stories to tell and memories to cherish of a special night with one of the most well-known musicians of popular music -- Ringo Starr.

Rolling Stone Magazine readers named the 74-year-old Starr, "the fifth-greatest drummer of all time." He's also a Member of the Order of the British Empire, an Academy Award winner, an Emmy nominated actor and a Rock and Roll Hall of Fame inductee.

I asked the couple seated next to me why they came to see Ringo Starr & His All-Starr Band at the King Center. The husband looked at me and said, "I've loved this guy's music forever starting with the Beatles and I've waited 50 years to see him. We drove 50 miles to be here."

They are not alone. According to Forbes magazine, fans have flocked to 200 Ringo Starr & His All-Starr Band shows in the past 15 years. Starr grosses about $300,000 per concert and about $6 million per year.

The audience at the King Center was a mix of every age, but the fifty-and-over crowd was definitely in the majority and they came ready to rock. They were not disappointed. The Ringo Starr & His All-Starr Band concert was like having unlimited quarters and finding the best '50s, '60s, '70s and '80s jukebox ever.

The song set consisted of more than 20 of the best-of-the-best tunes by Ringo and his All-Starrs. Almost every artist took the spotlight for several tunes and supported his bandmates on all the others. The All-Starrs included Todd Rundgren on lead guitar and vocals; Gregg Rolie on keyboards and vocals; Steve Lukather on lead guitar; Richard Page on bass guitar and vocals; Gregg Bissonette on drums; and Warren Ham on saxophone.

At one point in the concert, Starr turned to the crowd and exclaimed, "I love this band. I love everybody in it. This is a great band!"

Not to be outdone, the ever unconventional Todd Rundgren added, "This is the longest act of musical lovemaking in history!"

Starr performed "Matchbox," "It Don't Come Easy," "Wings," "Boys," "Don't Pass Me By," "Photograph," "Act Naturally," "Anthem," "With a Little Help from My Friends," "I Wanna Be Your Man" and "Yellow Submarine."

When introducing "Yellow Submarine," Starr joked, "If you don't know this song, you are in the wrong place!"

Guitar magician Rundgren took the lead vocal for "I Saw the Light," "Bang the Drum All Day" and "Love Is the Answer."
As he sang and riffed on the guitar, Rudgren did every pose you expect a '70s rock star to do. The man is limber and obviously having a great time on stage.

Rolie brought strong vocals and rock-organ to his set of "Evil Ways," "Black Magic Woman" and "Oye como va." He had the audience on their feet as soon as he announced, "We played this at Woodstock. This is 'Evil Ways.'"

Bissonette got his chance to shine with a drum solo on Santana's "Black Magic Woman."

Lukather showed why he's won five Grammy Awards. He still has blazing fast fingers and his world-class lead guitar skills were showcased in his set of "Rosanna," "Africa" and "Hold the Line." Warren Ham added an extended sax solo to "Rosanna" and received a standing ovation.

Page's tenor vocals were just as crystal clear as they were 30 years ago as he sang "Kyrie," "You Are Mine" and "Broken Wings." He had the audience cheering as he segued into an effortless falsetto and then unbelievably jumped up another octave higher.

Throughout the concert, Starr made several joking references to "that other band" so it was fitting that the show ended with the audience on their feet joining Ringo & The All-Starrs for John Lennon's "Give Peace a Chance."

Ringo Starr is a rock-and-roll icon and the Ringo Starr & His All-Starr Band concerts remind us why.

Ringo Starr & His All-Starr Band appeared on Oct. 22 at the King Center for the Performing Arts at Brevard Community College, 3865 N. Wickham Road, Melbourne, FL 32935. For info about the King Center or tickets, call 321-242-2219 or visit http://www.kingcenter.com

Steven Skelley is a published author of several nonfiction works and the novella The Gargoyle Scrolls. He has been a newspaper columnist, travel writer, news writer, music director, creative arts director, theater reviewer and tennis instructor.

(This review originally published in EDGE Magazine at http://www.edgemedianetwork.com/entertainment/music/reviews//167467/ringo_starr)

Willie Nelson & Family Concert Tour by Steven Skelley

Willie Nelson & Family Concert Tour by Steven Skelley

This article originally published in EDGE magazine at http://www.edgeonthenet.com/index.php?ch=entertainment&sc=music&sc2=reviews&sc3=performance&id=140256

The Willie Nelson and Family concert tour is exactly what you would expect from one of popular music’s iconic artists -- hit after hit that had the audience singing along like old friends around a campfire.

With 10 Grammy Awards, seven American Music Awards, nine CMA Awards and more than 40 million albums sold in the U.S.A., there is no doubt that Willie Nelson brings a tremendous talent and decades of musical insight to the stage. 

What is surprising is how, at age 79, he can still put on a show that rivals any of the current crop of young guns in the music business today.

When he took the stage at the King Center, Willie looked frail and pale from the flu battle that has caused the cancellation of his previous concert a day before but he hit every note in every song in a pitch-perfect demonstration that younger artists would be wise to emulate.

In addition to a seven piece band that included his son Lukas, Willie’s sister Bobbie Lee accompanied Willie on piano.

Whenever Willie appeared to need a rest, he called on Bobbie to lead an instrumental piece while Willie sipped from a plastic cup that had been placed near his guitar amp.

Willie and his son Lukas joined forces for a bluesy duet of "It’s floodin’ down in Texas" complete with dueling lead guitar solos.

Willie’s son Lukas Nelson wowed the crowd with his own set of songs including a rocking, electric guitar rendition of Neil Young’s "Homegrown" that had the audience cheering and laughing at the ongoing joke about the Nelson family’s world famous appreciation for marijuana usage and decriminalization.

Lukas has his daddy’s voice and rock star good looks. As Lukas played and sang in a voice reminiscent of a young Willie, I overheard a college-age young lady beside me tell her friend, "He is gorgeous! I want to have his baby!"

Willie and Lukas joined forces for a bluesy duet of "It’s Floodin’ Down in Texas" complete with dueling lead guitar solos. There was a fair amount of improvisation from both performers who were obviously feeling the blues vibe of the tune. The song was one of my concert highlights.

For those audience members who love Willie’s music and sang along word for word, he effortlessly segued from one famous hit to the next. He sang "Crazy," "Beer for My Horses," "Mommas Don’t Let Your Babies Grow Up To Be Cowboys," "On the Road Again," "Always on My Mind," and for country fans hoping for a trip down memory lane -- a Hank Williams medley launched with "Hey, Good Lookin’."

Willie Nelson may be a country music icon but his music embraces a variety of styles. He has a unique and inimitable way of melding the diverse nuances of country, jazz, folk, rock and blues music into a surprisingly engaging fusion that shouldn’t work but does. It not only works, it is incredible!

For more information about the Willie Nelson and Family 2013 tour, visithttp://willienelson.com/story/willie-nelson-and-family-old-farts-and-jackass-tour-2013.

Willie Nelson and Family appeared on Feb. 1 at the King Center for the Performing Arts at Brevard Community College, 3865 N. Wickham Road, Melbourne, FL 32935. For upcoming King Center performance info or tickets, call 321-242-2219 or visit http://www.kingcenter.com.

Steven Skelley is a published author of several nonfiction works and the novella The Gargoyle Scrolls. He has been a newspaper columnist, travel writer, news writer, music director, creative arts director, theater reviewer and tennis instructor.

STOMP theater review by Steven Skelley

The following Steven Skelley review appeared in EDGE magazine at http://www.edgeonthenet.com/index.php?ch=entertainment&sc=theatre&sc2=reviews&sc3=theatre_reviews&id=140258

Stomp
by Steven  Skelley
EDGE Contributor
Sunday Jan 6, 2013

What happens when you combine innovative theater, modern dance, rhythmic music and the eclectic energy of performance art? "STOMP" is what happens, and it is an amazing experience.

"STOMP" is the creation of Luke Cresswell and Steve McNicholas. After working together in the UK as members of the street band Pookiesnackenburger and the theatre group Cliff Hanger in the 1980’s, Cresswell and McNicholas created "STOMP."

It previewed at London’s Bloomsbury Theater and premiered at The Assembly Rooms in Edinburgh. It was an instant hit earning the Guardian Critic Choice Award and the Daily Express Best of the Fringe Award.

"STOMP" soon went on world tour to sold-out venues earning even more accolades and setting attendance records. It even broke a box office record no one had touched since it was set by Frank Sinatra in 1972.

After more than 5000 "STOMP" performances, Planet Hollywood Resort and Casino in Las Vegas built a $28 million theater specifically for the production.

With HBO specials, IMAX movies, Presidential performances, Royal performances and more awards than they can reasonably list already in their pockets, Cresswell and McNicholas reworked and added new material to "STOMP" in 2008.

They have worked their magic again -- the current production is simply stunning.

"STOMP" takes the audience on a journey through the symbiotic relationship between music and dance. The show opens with one man sweeping the stage floor with a wooden broom. One by one, other cast members sweep their way on stage.

As the audience is introduced to the ensemble, the floor sweeping turns into a multi-player rhythmic symphony. At least four brooms snapped in half during the energetic and increasingly frantic opening number. New brooms were tossed to the performers on stage that didn’t miss a beat.

When this number ends and the audience has been attuned to rhythmic complexity, one of the performers leads the audience in a simple clap-response session. He claps. The audience attempts to mimic his cadence. He varies his rhythm and encourages the audience to follow.

At least four brooms snapped in half during the energetic and increasingly frantic opening number. New brooms were tossed to the performers on stage who didn’t miss a beat.

The mime performance progresses as both the instruments and rhythms become more complex. The audience is exposed to the unique tonal qualities of such familiar items as shopping carts, brooms, dust pans, newspapers, shopping bags, inner tubes, hub caps, trash cans, trash can lids, barrels and cigarette lighters.

The ensemble cast includes Alexandria Bradley, Eric Fay, Andre Fernandez, Cammie Griffin, Mike Hall, Lance Liles, Guy Mandozzi, Andre Meggerson, Nancy Rubio, John Sawicki, Mike Silvia and Carlos Thomas.

Even though the performance is done in mime with no dialogue, each cast member portrays a distinct character different from the others. This uniqueness is highlighted throughout the performance as each one is given a chance to express himself in at least one musical number.

Each performer brings a special talent to the stage. Rubio, Griffin and Bradley are experienced dancers and choreographers. Sawicki is a percussionist who has performed with Tommy Lee, No Doubt and Limp Bizkit. Mandozzi is a trained actor who provides hilarious comic relief to the production.

Just as the odd assortment of objects work together in the music and dance, this diverse cast both works together and lifts each other to a sum that is greater than its individual parts.

In viewing "STOMP," I believe that Cresswell and McNicholas want us to see the overlooked beauty in the everyday life sounds that we usually block out or ignore.

"STOMP" reveals the beauty in the diversity of the human individual. Each solitary human carries a talent, tune and flavor that furthers the whole of humanity. Each singular and often disregarded noise can become part of an amazing symphony.

Throughout the performance, the audience is invited to participate. At the beginning of the show, a cast member teaches rhythm to the audience through a basic clap-response session. As the show progresses, he periodically challenges the audience to more complex cadences. By the end of the show, the newly attuned audience completes a very complex and energetic clap-response session that they never would have been able to accomplish at first. Their ears have become accustomed to complex rhythms. Objects and sounds that may have once just been viewed as noise and irritation are now seen and heard in a new light.

That is what Cresswell and McNicholas want their audiences to experience. They call it the "exploration of rhythm in all things" and the presence of stomp in the "rhythm of life."

"STOMP" may be one of the most engaging, amazing and exhilarating shows you will ever experience.

"STOMP" continues its North American, South American and European tours through 2013. Tour dates and information can be found at http://www.stomponline.com/tickets_tour.php

"STOMP" was performed Jan. 4 and 5 at the King Center for the Performing Arts at Brevard Community College, 3865 N. Wickham Road, Melbourne, FL 32935. For info or tickets for upcoming shows, call 321-242-2219 or visit http://www.kingcenter.com

Steven Skelley is a published author of several nonfiction works and the novella The Gargoyle Scrolls. He has been a newspaper columnist, travel writer, news writer, music director, creative arts director, theater reviewer and tennis instructor.

Menopause: The Musical review by Steven Skelley

My review of Menopause: The Musical published in EDGE magazine at - http://www.edgeonthenet.com/index.php?ch=entertainment&sc=theatre&sc2=reviews&sc3=theatre_reviews&id=136264

Menopause: The Musical

by Steven  Skelley

I saw "Menopause: The Musical" and survived! I consider that quite an accomplishment considering how the evening began. As my male guest and I made our way to our balcony seats, we were greeted with multiple catcalls from female attendees such as:

"Hey! What are you doing here?"

"Hey! This is not a Beach Boys concert. It’s ’Menopause’!"

"Hey! You two do realize you are the only two men here, right?"

My favorite was, "Hey! Did you think this was going to be a great place to pick up chicks?"

Being a gay male journalist, picking up post-menopausal, grey haired females was not high on my list of priorities, but I knew it was going to be an entertaining night. These ladies had come prepared to have fun and they were enjoying themselves before the show even began.

"Menopause: The Musical" is all about fun and the shared female experiences of the change of life. I have never seen women laughing harder and louder than they did at this show. Women were actually stomping their feet, laughing hysterically and saying to each other, "I do that too!" when one of the characters described a hormonal moment.

One running gag is how one of the ladies suffers menopausal incontinence issues and has to run off the the ladies room repeatedly. She usually makes it there in time -- but not always.

The show opens up in Bloomies, aka Bloomingdale’s Department Store. Four very different women find themselves accidentally sharing a shopping experience and their personal menopausal challenges in various hilarious ways. They include the Professional Woman, the Soap Star, the Earth Mother and the Iowa Housewife.

Kimberly Vanbiesbrouck reminded me of the Blanche Devereaux character from "The Golden Girls," using her sexiness to her advantage for her whole life but now finding her body changing and drooping in spite of the best plastic surgeons.

Kimberly Ann Harris portrays the African-American Professional Woman. Harris is an accomplished actor who debuted on Broadway in the original production of "The Color Purple." Her Professional Woman role in "Menopause" allows her to show her comedic and musical talents as well. Her big-wigged, high-heeled, mini-dress, butt-shaking Tina Turner impersonation is a show stopper.

The Soap Star is portrayed by Kimberly Vanbiesbrouck. She reminded me of the Blanche Devereaux character from "The Golden Girls" classic television sitcom. The Soap Star has used her sexiness to her advantage for her whole life but now finds her body changing and drooping in spite of the best plastic surgeons she can buy. Vanbiesbrouck’s over-the-top, drama queen vocal performances are hilarious.

Margot Moreland portrays the fading hippie Earth Mother who never outgrew the 1960s and whose inner peace is challenged by her new hormonal inner demon. The peaceful person she once was has been replaced by an angry woman who looks like her mother.

Moreland’s Earth Mother shares the trials of her marriage in a clever rewrite of the song "The Lion Sleeps Tonight." In Earth Mother’s world, the familiar tune now contains the lyrics, "She’s a witch. She’s a witch. She’s a bitch. She’s a bitch. In the guestroom or on the sofa, my husband sleeps at night. In the guestroom or on the sofa, my husband sleeps at night."

Liz Hyde’s chunky Iowa Housewife character stole the show. Hyde has been with the production for seven years and she has honed her comedic portrayal to perfection. When she pumped her hips in the "Stayin’ Alive" dance routine, the women around me were howling in laughter and stomping the floor.

The show follows the ladies as they shop various floors at Bloomingdales and make multiple stops in the ladies rooms. In each scene, they share the challenges of the change of life through humorous rewrites of some very famous and familiar popular songs from 1961 to 1980. You will quickly recognize the tunes but the real surprise comes in the cleverly themed lyrics which offer the actors plenty of opportunity for slapstick comedy silliness.

The biggest laugh of the night aside from Professional Woman’s Tina Turner singing a liberating take on "What’s Love Got To Do With It" was when the modest and chunky Iowa Housewife discovers the joys of personal vibration devices and sings "Only You" to her vibrator!

The show concludes with the cast bringing dozens of cheering female audience members onstage to sing and dance with them.

I not only survived "Menopause: The Musical" -- I enjoyed every minute of it!

"Menopause: The Musical" runs through September 30 at the King Center for the Performing Arts at Brevard Community College, 3865 N. Wickham Road, Melbourne, FL . For info or tickets, call 321-242-2219 or visit http://www.kingcenter.com

Steven Skelley is a published author of several nonfiction works and the novella The Gargoyle Scrolls. He has been a newspaper columnist, travel writer, news writer, music director, creative arts director, theater reviewer and tennis instructor.

CABARET - the relevent classic is back

Cabaret

by Steven  Skelley

(This article first appeared in EDGE MAGAZINE, www.EdgeOnTheNet.com)

As current news is dominated with daily headlines of religious and political forces demanding laws that restrict the basic civil liberties and equal rights of certain citizens, I can think of no modern theatrical production more relevent today than the groundbreaking and heartbreaking classic called"Cabaret."

The Historic Cocoa Village Playhouse has bravely stepped into the firing line and created an excellent production that can’t help but share the message that everyone deserves individuality and dignity and when we don’t stand up for freedom, society will surely suffer.

Executive Director Dr. Anastacia Hawkins-Smith said, "’Cabaret’ is a very adult production. The theme of ’Cabaret’ reminds us of the terrible things that happened to the Jewish people and homosexual people during that time period."

The Historic Cocoa Village Playhouse production of "Cabaret" was one of the most inspiring and touching shows I have seen in a long, long time.

"Cabaret" debuted on Broadway in 1966, winning multiple Tony Awards including Best Musical. The 1972 movie of "Cabaret" earned eight Academy Awards.

"Cabaret" is set just as the Nazis are gaining power in Germany prior to World War II. The storyline centers around a group of eclectic characters at the Kit Kat Klub and Fraulein Schneider’s boarding house. For many, life is a cabaret! They live for the day and turn a blind eye to the rising Nazi menace growing all around them. As the play progresses, they will no longer have that luxury.

The show opens with Benjamin Cox performing the Emcee’s song and dance "Willkommen." Cox and ensemble clearly set the tone and warned the audience that the production would be both risqué and filled with tongue-in-cheek humor.

Benjamin Cox shined as the Emcee. His jet-black wig and dark eyeliner gave him a stunningly provocative handsomeness reminiscent of a young Rob Lowe.

As the Emcee introduces us to the Kit Kat Klub performers, we meet several gender-bending characters. Just moments into the opening act, we meet lesbians Rosie and Lulu as well as a dancer described as a "cunning linguist." We also meet several Kit Kat "boys" who may be homosexual or bisexual.

Jonathan Goforth portrays Clifford Bradshaw -- an American writer traveling through Berlin who tragically falls in love with Kit Kat Klub performer Sally Bowles.

Lisa-Marie Rhodes portrayal of Bowles gave the audience insight into a character who is willfully ignorant and unwilling to face anything unpleasant in life. She abandons Bradshaw, who wants nothing more than to love her.

Benjamin Cox shined as the Emcee. His jet-black wig and dark eyeliner gave him a stunningly provocative handsomeness reminiscent of a young Rob Lowe.

She aborts their unborn child that offered her hope for the future. She turns a blind eye to the growing Nazi menace around her. Rhodes’ vocal performance of the title song "Cabaret" was intensely emotional and one of her best scenes in the production.

Judy Edwards portrays Fräulein Schneider, an elderly widow who runs a boarding house in which several of the characters live. She is being wooed by an elderly widower, Herr Schultz.

Brian Smith portrays Herr Schultz, an elderly widower and fruit shop owner who falls in love with Fraulein Schneider. Unfortunately, their love is doomed as the Nazis begin to terrorize him because of his Jewish heritage.

As hush came over the audience as Judy Edwards’ Fraulein Schneider sang the haunting "What would you do?" about whether to take a chance on love with the Jewish Herr Schultz. The song’s theme seems especially fitting today.

Do you stand up for the rights and basic human dignity of a society’s scapegoats and suffer possible retribution and hardship yourself or do you pretend not to see and allow others to be abused and discriminated against? Fraulein Schneider chooses the latter and throws away the love of her life in order to fit in with her Nazi neighbors and friends. We all know how that ended.

But Fraulein Schneider does not deserve all the blame for their situation. Sadly, Herr Shchultz states "What is it to us after all? It’s just politics," as he refuses to admit to himself that the growing political party’s bigotry will soon mean his death.

Larwence M. Mazza portrays the completely detestable Ernst Ludwig -- a Nazi who torments and abuses everyone who he deems inferior or who disagrees with his politics. He tries to lure American Clifford Bradshaw into his web. When Bradshaw fights back, Ludwig has Bradshaw severely beaten by Nazi thugs.

Lindsey Miner portrays Fräulein Kost, a prostitute who rents a room in Fraulein Schneider’s boarding house and reveals herself to be a vindictive opportunist willing to step on anyone to move herself ahead. She betrays the Jewish Herr Schultz to the Nazis.

The closing moments of the show are some of the most shocking in modern theater history. Benjamin Cox was magnificent as the tear-stained Emcee who faced the audience to cast off his black wig to reveal the shaven head of an abused prisoner. He then cast off his coat to reveal a concentration camp prisoner’s uniform adorned with a yellow star patch and a pink triangle patch identifying his "crimes" of being both a Jew and a homosexual.

Tears and makeup streamed down Cox’s face as drums began an execution drum roll and the stage lights dropped to black at the sound of gunfire.

The audience responded with a standing ovation.

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Steven Skelley is a published author of several nonfiction works and the novella The Gargoyle Scrolls. He has been a newspaper columnist, travel writer, news writer, ordained minister, music director, creative arts director, theater reviewer and tennis instructor.