Posts Tagged 'Boston College'

What Can Art Learn from Business? The Own It Summit from an Artist’s Perspective

By Kristen Mabie


 I hate how my voice sounds when I speak into a microphone. However, the Own It Summit Boston College held on March 29 was far too inspirational and thought-provoking for me not to stand up and ask questions during the Q&A’s. Own It is a conference focused on women’s leadership, developed last year at Georgetown University. Artists others than writers were virtually non-existent at the event, but that did not deter me at all. The writers who spoke, along with all the other women representing fields such as media, politics, business, and STEM, conveyed that they were motivational and successful women without even mentioning their career. However, the career stories they told and the advice they provided, no matter what their profession, was universal. The summit was co-hosted by UGBC and the Women In Business club. Even though there were patent leather heels everywhere I looked, I truly believe that the Own It Summit was a beneficial day for everyone who attended regardless of career interest, age, or even gender.

I attended the business panel and one of the speakers, a sales manager at Google and a BC alum, provided the following career advice to women: sit up straight, claim your space. Her advice to be confident and have a high self-worth despite your gender, or any other circumstance, is just one example of the transcendent inspiration from the summit’s speakers. The keynote speakers — Carrie Rich, CEO of the Global Good Fund, and Kate White, novelist and former Editor-in-Chief of Cosmopolitan magazine — were utterly brilliant. At the very beginning of the day, all summit attendees were asked to answer the question posed by writer and Facebook COO Sheryl Sandberg: What would you do if you weren’t afraid? Both White and Rich told us to take those risks and there is no better time to make your ideas reality than today. This resonated with me as an art student. It is easy to feel like my art is not good enough to show other people, that I do not have enough experience to try my hand at design, and that my art is personal, so by not succeeding artistically I am not succeeding personally. Throughout the day, the importance of confidence was an undercurrent in every speaker’s story and inspired me to be a better artist.

Kate White, a successful writer and creative mind, uses the motto “go big or go home” in her career. Though White’s speech spoke to both my business and artistic aspirations, the idea of “go big or go home” has especially impacted my artistic practice in the past couple weeks and I’m sure that impact will continue. As an artist of any type you need to be bold and trust your instinct – you cannot do anything half way. White also advised us to stop worrying about what other people think. Though this is common advice, from an artistic perspective I was reminded of the quote by Andy Warhol, “Don’t think about making art, just get it done. Let everyone else decide if it’s good or bad, whether they love it or hate it. While they are deciding, make even more art.” White was a visiting speaker for the summit, but in a way she was a visiting artist as well, and I wholly support her philosophy of not asking permission to go above and beyond and try something new. Rather than always waiting for others’ evaluation, keep pushing your own boundaries and you will wind up with something great. The summit may not have been meant to serve as artistic inspiration but it sure turned out that way!

Inspiring women (and the handful of men who attended) to “own it” in their careers was the goal of the summit and it by no means fits the traditional confines of an event that represents BC Arts on campus. However, the Own It summit shows that sources of inspiration and learning opportunities for our art community extend further than we often realize. The interdisciplinary learning emphasized at Boston College encourages us to connect areas of thought we might not consider and this type of environment is perfecting for aspiring artists!

What do Bay Windows, Gouda, and BC bOp! Have in Common?

by John Hogan


I admit—I’m no expert in jazz. Or music composition in general. My brief affair with the recorder ended anticlimactically after the eighth grade. In fact, most of the indie music I listen to was introduced to me by friends with better taste and ears more finely tuned to the rhythms of the underground. But don’t think for a second that my mild incompetence impedes my ability to appreciate good music when I hear it. My amateur eardrums absolutely reveled in the sound waves of bOpFlix last Saturday night. You probably saw the Netflix-themed advertisements around campus. And hopefully they piqued your interest enough to buy a ticket because bOpFlix proved to be one of the most elating nights of music this semester.

For a long while I belonged to the Bart Simpson School of jazz sucks. But that was before I appreciated the finer things in life. Like bay windows and gouda. Over the past few months, I’ve had the fortune of being schooled in jazz by my future roommate and current bOp! trumpeter Andrew Heimerman. His aggressively blonde hair against the red-lit curtain was the first thing I noticed when the tuxedoed bOp! players took the stage.

Perched in the second-to-last row, my three friends and I had a bird’s eye view of the performance. The ensemble strutted out before the lights dimmed. The sounds of their light warmup filled the space between conversations with eager sophistication. When the lights shut, the talking seamlessly morphed to applause. Audience members shouted names of their friends and the blue screens of phones and cameras floated like electric fireflies in the dark.

bOpFlix began with no introductions of any kind. Darkness filled the room. The light projected on the curtain switched from red to a light swirl of pink and blue reminiscent of these popsicles you may have eaten as a child. The night kicked off with a jazzy rendition of Charles Calhoun’s “Smack Dab in the Middle.”

Photo courtesy of The Heights.

Photo courtesy of The Heights.

The entire performance was spectacular. It was clear that bOpFlix was the culmination of months of hard work and creative energy. Every song wrapped itself around my brain—capturing our attention based on their own merit, rather than riding the coattails of whatever song that came before. But I don’t think I blinked once during the 11th act. Mike Mastellone stole the spotlight—and probably the hearts of each audience member—when he sang Frankie Valli’s “Can’t Take My Eyes Off of You.” I met Mastellone at late night a few weeks prior. I thought he was a great guy, but I never thought he would give Frankie Valli a run for his money. Not many 18-year-olds can conquer the stage with such grace. If he was nervous, his bellowing tenor betrayed every hint of trepidation.

The strongest connection bOpFlix had to contemporary pop culture was ‘It’s All About That (Upright) Bass.” Marian Wyman made Meghan Trainor’s lyrics her own while Andrew Jones plucked his upright bass. With a doo-wop trio in sparkling gold tuxedo jackets, the word “booty” never sounded classier.

Director Sebastion Bonaiuto and Vocal Director Karen Sayward deserve all the praise they could ever receive—the talent they’ve drawn out of performers who probably aren’t any older than twenty-two is remarkable. Jazz filled Robsham like water last Saturday night. After what was a long and arduous week of midterms for many, there could have been nothing more rejuvenating than easing back and letting the music take over. I wasn’t trying to escape from reality walking into the theater, but I found myself completely and joyously lost by the end. The performers’ energy certainly rubbed off on the audience; it seemed like everyone walking out of Robsham left with a smile on their face and a lively bounce to their step. Regardless of whatever activities people spent the rest of their Saturday nights doing, I’m sure no one had a problem remembering what chords bOpFlix struck Sunday morning.

Watching from the Booth: How Theatre Touches People

By Anna Vecellio

anna - next fall

“Great theatre is about challenging how we think and

encouraging us to fantasize about a world we aspire to.” – Willem Dafoe

            Watching a play from the Stage Manager’s booth is a unique experience. The Stage Manager has a different perspective from the audience, the director, the cast; it is an all-inclusive one. We attend every rehearsal, every production meeting, and we run the shows. I could tell you about the performances by the actors in Boston College’s recent production of “Next Fall”. I could discuss stage direction, or even the design – all of which came together for a beautiful show. Instead, I’d like to try and explain how, from my perspective, the show touched everyone involved. Of all the shows I’ve worked on, none have prompted the kind of discussions that emerged from our experience of “Next Fall”.

Directed by Sarah Krantz ’15 and written by Geoffrey Nauffts, “Next Fall” is a memory play centered on the five year long relationship between Adam (Andrew Troum), a 40 year-old teacher, and Luke (Jared Reinfeldt), a 30 year-old actor and devout Christian. When Luke is in a terrible accident, Adam must spend the night at the hospital with his quirky friend Holly (Kate Weidenman), Luke’s former friend and equally devout Christian Brandon (Joe Meade), and Luke’s parents Arlene (Maisie Laud) and Butch (Ted Kearnan), who have no idea Luke is gay, let alone that he has been living with Adam for four years. Juxtaposing the hospital scenes with memories from Luke and Adam’s relationship, the show slowly reveals all the tensions, problems, and joys in their lives. The central conflict is Luke’s belief that being gay is a sin – one he must repent for every day. Adam, a steadfast atheist, can’t quite accept God’s central place in their relationship.

Ted Kearnan played Luke’s father, Butch, a man whose wild past led him to cling to the Bible as a way of straightening out his life. His attitude toward Luke’s choice to become an actor, and his verbal homophobia, in part, causes Luke’s self-loathing. Yet, as the rehearsal process went on, the line between Butch the villain and Butch the caring and grief stricken father became harder and harder to see, especially for Ted. Many times, Ted talked about the difficulty of rationalizing the loving devoted father and the man who so whole-heartedly rejected his son’s real life.

“Next Fall” challenges everything we, as a society, have built up around the idea of good and evil, antagonists and protagonists. Adam, the lead of show, should have been the hero fighting for his right to love Luke and be loved in return, yet most of his arguments feature explosions of rage and personal attacks. Andrew, who played him, captured a side of Adam that was much more unsympathetic than the traditional heroic figure. The same went for Jared’s performance of Luke. At times, Luke seemed to be the perfect match for Adam, his soul mate. At others, Luke’s religious devotion drove them apart in a way that was viscerally painful and frustrating. The monsters in this story weren’t the kinds that live under beds and in dark corners. They lived inside every character. The effect of this ambiguity could be seen in every actor – who struggled to find their acting space in the mess of moral greys. It also struck at the audience in the most poignant way I’ve seen in my time in theatre.

The audience sat on both sides of the stage and, as a result, was visible from the booth. Every night, I had a front seat to both the action on stage and the audience’s reactions. From the booth I watched parents, professors, students, and members of the theatre department experience a show that had already touched the people involved in it. Around night two, we started joking about which lines would make audience members cry. Watching from the booth, however, I was struck by the sheer number of moments that evoked reactions from the audience. Moments like: Arlene’s heartfelt monologue about Luke that reveals not only some of the darkest parts of her past but conveys her unbreakable love for her son; when Butch describes the process of removing his son’s organs for donation, revealing some of the clear goodness beneath the bigoted surface; or Adam’s final speech, in which he claims to have finally “believed,” both heart breaking and underpinning the futility of Adam’s aggression towards Christianity.

In the end, this was the power of the show: it created characters that were perfectly human in every way. Those kinds of shows don’t come around often – and if you ever have the opportunity to see one, do it. Or you might miss a chance to have your world view challenged.

Bostonians Stir Up the Crowd at Spring Cafe

By Kristen Mabie

Designed by Cailin Cowley ‘17. Image courtesy of the Bostonians of Boston College.

Designed by Cailin Cowley ‘17. Image courtesy of the Bostonians of Boston College.

I arrived in McGuinn 121 at quarter to seven, fifteen minutes early for the Bostonians’ Spring Café, and the only seats left were in the back row. People were still streaming in as we waited for the show to begin, eventually sitting on stairs and standing at the back, refusing to miss the performance because of a seating shortage. The crowd was vivacious, walking around to mingle before the show, and some people were even dressed in St. Patrick’s Day themed outfits. Bostonians shows are upbeat, vibrant gatherings and the Spring Café was no exception!

As the singers walked in, the crowd erupted into cheers and applause. Well-dressed with huge smiles, the group kicked off the night with Jessie J’s upbeat “Strip,” sung by Meghan McCarthy ’17. Meghan gave a stellar performance, reminding me why my roommates and I listened to her previous performance of the song on repeat during finals! The first standing ovation of the night went to Kelsey Woo ’15 who sang “Say You Love Me,” by Jessie Ware. I saw Kelsey perform this song at the Bostonian’s Winter Café and her performance inspired me to search the song on Spotify and I have loved it ever since! Kelsey’s emotionally-gripping performance was perfect for the gorgeous, heartbreaking ballad. The talent in the Bostonians doesn’t just rest with the seniors though; freshman Hannah Crowley ’18 gave an incredible debut performance of Nikki Yanofsky’s “Necessary Evil.”

A fun addition to both the Bostonians’ Spring and Winter Cafes is the inclusion of projects, songs sung in small groups that add instruments to the usually a capella performances. Chloe Mansour ’17 and Liam Maguire ’17 gave a lighthearted and cheerful rendition of “You and I” by Ingrid Michaelson, accompanied by a ukulele. Later, Sam Park ’16 and Keely Bartram ’16 performed “Tip Of My Tongue” by The Civil Wars and Sam also played guitar. I’ve never heard the original version – but I loved theirs! Their vocals melded perfectly while still allowing each vocalist to shine.

Before intermission, Sami Middleton ’15 sang “Jealous,” by Labyrinth. I’ve loved this song recently and from the first note I was blown away by Sami’s interpretation. Starting off solo, with no background singers to fill out the sound, her mesmerizing vocals carried the sentiment of every lyric. Towards the end she effortlessly belted out lyrics before flawlessly shifting back to delicate notes, creating a chill-inducing performance very worthy of her standing ovation!

Between ovations, yelling out to performing friends by name, and loud applause whenever they hit an unimaginable note (which was often!), the crowd were emphatic supporters, an attitude undoubtedly generated by the Bostonians’ own positivity and excitement. Whenever the singers weren’t performing, they were sitting together off to the side, joking with each other and showing how unified they are as a team.

The second half of the show was just as great as the first. Cailin Cowley ’17 sang “Say Anything,” by Tristan Prettyman, and her jaw-dropping silky voice slid effortlessly through some beautiful, subtle runs. The emotion she showed on her face topped off a truly elegant and haunting performance. Ben Stevens ’17 sang “I’m Not the Only One,” by Sam Smith. Ben is the lead singer in the popular Boston College band, Juice. Ben managed to evoke a similarity between Grammy-winner Sam Smith’s voice and his own while still maintaining a distinct sound. His song had the audience captivated and cheering from beginning to end as he belted it out and navigated the higher notes seamlessly. Chloe Mansour ’17 closed the show with Taylor Swift’s hit song, “Shake it Off.” The Spring Café was the best performance I have seen Chloe give of the song to date. Chloe is one of the happiest people I know! She is the perfect person to sing such a bubbly, energetic song and close out the successful evening. Her incredible energy, along with her unstoppable vocals, made her performance a joy to watch.

I wish I could write about every Bostonians performance that night because each singer is talented beyond belief. I strongly encourage you to check out the videos of their performance on YouTube under the account name bcbostonians.

The Bostonians’ Stage for the Evening. Image Courtesy of the Bostonians of Boston College.

The Bostonians’ Stage for the Evening. Image Courtesy of the Bostonians of Boston College.

More Than an Amateur Hour: Art Club and Music Guild Co-Host Open Mic Night

IMG_1947 editby John Hogan

Last Thursday, the BC Art Club and the Music Guild joined forces to present the first in  a series of Open Mic Nights. The event was hosted in the Vandy Cabaret Lounge, one of the more hip spots on campus (next to the Chocolate Bar, of course). Of the twelve acts, only one was a non-musical performance. (For those looking for more poetry, the next Open Mic Night, this Thursday, will also be hosted by the Laughing Medusa, which is bound to draw the BC literati to the stage.) The juxtaposition of serious musicians and amateurs just there to have fun was endearing; the evening was neither too serious nor too casual. Even those performers who missed a few lines, or whose voices were shaky with trepidation, proved that beneath all the pastels and whale-printed shorts there is genuine artistic talent in the BC community.

Despite being a small event, there were more than a few large voices. Alex Dzialo, of My Mother’s Fleabag, took the reins as emcee and the night  started out strong with the Music Guild’s own VP, Chris Paterno. Brandishing a guitar and harmonica, he performed two songs off his EP, Everyday Shadows, which just so happens to drop this week. For those who did not attend, you can see Chris deliver the artistry one would expect of the Vice President of the Music Guild here.

Next up was Seán O’Rourke, who probably stole more than a few hearts with his charming Irish accent. A man of many talents, Seán is not only an actor, but apparently a poet as well. He performed two spoken-word poems, reading them off his phone without any shame. The first was an untitled love letter to a girl named Victoria. The second, titled “To My Love,” was a half-chronicle of a date that could have gone better.

IMG_1992 edit

Dan Lyle’s solo act, Isl∆nd, was certainly the darkest, but it was also the most mesmerizing. Maybe I’m more basic than I thought, but I couldn’t place his song, “Not You,” into one specific genre. Dan describes Isl∆nd as a “sonic world with endless possibilities” and hopes “to create genre bending music where every song exists in its own world.” He certainly succeeded in warping our brains for the few minutes he was on stage. Since Thursday, I haven’t stopped listening to all the trippy and haunting tracks on his Soundcloud—especially the EP ily.ihu.imu.

In the fifth act, Nick Diamondidis missed a few lines of “Dead Sea” by the Lumineers, but laughed it off like it was all part of the act. Next up was Chris Garcia and his solo project, the Proper. Sporting nothing but an acoustic guitar, his quiet and sensitive voice really pulled the audience in. The first song Chris performed was “For That Girl Who’s Kind of Cool” off his album, Opinions/Facts, released last August. The second was “Islands,” from his EP Whatever’nstuff, released last January.

IMG_2034 edit

The last six performances all showcased talented musicians, but were, for the most part, a string of covers, with Taylor Swift emerging as artist most likely to feature in a mashup. The Swift blending began with Meghan and Katie Kelleher’s “Thinking About Forever and Always,” a mix of Frank Ocean and Taylor Swift lyrics. I never thought Frank Ocean and Taylor Swift had much in common, but I was more than pleasantly surprised at how cohesively they came together. Next was Ian, Anna, and Mike with a double-Swift smoothie of “Style” and “Blank Space.”

The show ended with Dan Hwang and David Park playing three unnamed songs on their acoustic guitars. They were calm and relaxing and ended the night on a perfectly mellow note. Walking out of Vandy, I felt an appreciation for BC I hadn’t felt in a while. Events like Open Mic Night are so important because they’re ideal places to rediscover a sense of individuality and artistry in the BC community. Whenever BC begins to feel too big, or Vineyard Vines becomes too overwhelming, it’s events like these that remind us to take an active search for individuality and art. Even the most unsuspecting people have something important to say, something creative to share.

IMG_1915 edit

Something “ArtLifting” For Your Friday: BC Alum Empowers Disadvantaged Boston Artists

By Kristen Mabie

"Blue Moon Over Back Bay" by Dante Gandini

“Blue Moon Over Back Bay” by Dante Gandini

I met Spencer Powers, ’07 and his sister, Liz, at a crowded Cambridge restaurant one evening in November of 2013 to begin my internship at ArtLifting. I had been hired over the phone and never had an internship before so I had no clue what to expect, but it did not take long for me to feel not only comfortable with the Powers siblings but incredibly excited about the future of the Boston-based startup. ArtLifting, a L3C (low-profit limited liability company), seeks to empower homeless, disabled, and other disadvantaged individuals through the celebration and sale of their artwork. I got involved with ArtLifting before the company’s ecommerce platform opened, and at the time, four artists were going to join the program. Though it was a new venture, after seeing just a few pieces of artwork I had total confidence in the Powers’ vision. These four talented artists made me reconsider the stereotypes of homeless and disadvantaged individuals in our Boston community and what it means to be an artist.

Over the course of a few months, I was privileged to be able to see ArtLifting flourish. In January, the first four artists – Dante Gandini, Katie Schulz, Randy Nicholson, and Allen Chamberland – received their first checks, and it was clear the company was destined for success. In the months that followed, more artists from around the city got involved with ArtLifting, one company bought a large amount of artwork to be installed in their office, and ArtLifting was receiving more and more media coverage. Though I no longer work at the company, I regularly check in on what they have been up to and am thrilled to say that now, a year later, the company has expanded nationwide to support 45 artists in 8 cities.

"Mast" by Allen Chamberland

“Mast” by Allen Chamberland

If you are looking for a good cause and are a supporter of the arts in Boston – look no further. The first time I saw pictures of the artwork I was blown away, and to this day every time I check the website I am in awe. These artists, who have faced various challenges in their lives, have found a way to create beauty regardless of their situation. Their artistic mediums and styles are as diverse as their life stories, and the role art plays in each of their lives is unique, but their talent, strength and perseverance unites them as a group of artists who are truly inspiring. As an aspiring artist I can only hope to have the bravery these artists demonstrate by never giving up their creative process no matter what and allowing their powerful work to be seen by the public.

ArtLifting is not only showcasing the importance of art in our lives and breaking stereotypes about homeless or disabled members of our Boston community, but spreading this message nationwide. We have Spencer and Liz Powers to thank for that. The long hours they have spent establishing this company and allowing it to reach its potential are apparent. Whether you look at the website, visit their gallery in Boston, or read any of the media’s praise, you can just feel the enthusiasm shared by the Powers siblings, the artists, and everyone who has helped ArtLifting’s success. Everyone at ArtLifting truly embodies the Boston College slogan, “men and women for others.”

But don’t take it from me: check out the ArtLifting website, whether it is for artistic inspiration or to purchase the perfect gift. Read the stories of the inspirational artists, keep up with the motivated ArtLifting team and find out what ArtLifting is doing right now for the Boston community. You will not be disappointed. Though the artists themselves are not Boston College alumni, I am certainly proud to have interned at such an important organization and be able to say it was co-founded by a Boston College alumnus. The mission may be to empower the artists it features, but I think it is safe to say it has empowered many members of our community!

Ghosts on the Stage: BC Theater Department Performs One Flea Spare

By John Hogan

From left to right: Nick Gennaro, Sarah Whalen, Seán O’Rourke, and Maggie Sheerin.  Picture courtesy of the Boston College Theater Department.

From left to right: Nick Gennaro, Sarah Whalen, Seán O’Rourke, and Maggie Sheerin.
Picture courtesy of the Boston College Theater Department.

You know a performance is good when the memory of it stays at the forefront of your thoughts, rather than slipping away to that misty part of the brain where all that is trivial goes to sleep. The Boston College Theater Department’s recent staging of One Flea Spare, a play by Naomi Wallace was one such performance. Set in 17th century London, One Flea Spare chronicles the twenty-eight days four people spend in a quarantined house. The owners of the house, a wealthy merchant and his wife, both clash and mingle with the mysterious sailor and young girl who take sanctuary in their house. Social and sexual boundaries collapse as the plague ravages the outside world. Dark and mysterious from the very beginning, the production was captivating, brilliant, and haunting.

Before the lights dimmed, the atmosphere of the Bonn Studio was intimate and casual. For all those who have never been inside, the Bonn Studio is a small, black-box theater within Robsham and seats only 150. I had no idea the play would take place in this space, but the surprise of the smaller venue made the experience so much more personal.

When the lights went out, all chatter quickly ceased. An air of solemnity suddenly permeated the small theater. The play began with a monologue from the (undead?) Morse, a newly orphaned twelve-year-old, played by Maggie Sheerin. The eerie audio and singular light upon Morse—who was reciting her answers to a previous, unseen interrogator—set the haunting atmosphere for the rest of the play. Despite plenty of comedic moments, the audience was never allowed to get comfortable: The plague wasn’t merely a plot device to keep the characters in one room; it was a vulture constantly hanging over their heads. A feeling of sickness—of nothing being just quite right—underscored every action and every piece of dialogue.

One motif that stuck with me was the hypocrisy of Mr. Snelgrave, played by Nick Gennaro. Despite being the wealthiest and, according to himself, the most wise and worldly occupant of the house, he proved to be the most ignorant of the trapped four. Ever pontificating about the moral righteousness of his Christian household, he freely admits to the sailor Bunce his various infidelities. Apparently, the justification of wealth is what defines his aristocratic faith—men in his position are free to do what they please, even take advantage of their servants. One Flea Spare may take place in the 17th century, but the moral opacity of all those quarantined is surely not unique to their time.

One Flea Spare was described as a play that “deals with the clash of cultural, social, and sexual boundaries.” But Wallace’s play is certainly above and beyond mere friction. One Flea Spare doesn’t just poke holes in the façade of the “normal”—it tears that façade down. The social constructs which give order to the lives of not only the aristocratic Snelgraves, but also to Bunce and Morse, fall apart in the four weeks of quarantine. The romantic entanglement of the well-to-do Mrs. Snelgrave and the crass, impoverished Bunce not only happens, but happens openly. Their affair would have been punished severely, yet their love proved to be the most genuine. And when the fear of death is constantly weighing on your shoulders, why constrict yourself with the rules of others?

One Flea Spare concluded in a full circle: with a monologue from Morse. After she was carried off the stage and the lights went off, the silence the audience had been maintaining all of a sudden grew very heavy. A silent, reverential feeling of wow weighed on our shoulders for a brief moment. The lights went on and applause erupted in the way that only happens when a truly extraordinary event brings people together. I’m sure I’m not the only one trying to return to that first, silent moment before the applause. But moments like those are fleeting and ethereal. One Flea Spare is a haunting experience. The plague, the collapse of sexual boundaries, the disregard of a 12-year-old’s should-have-been innocence—everything macabre about the play stays with you. But the most haunting part of One Flea Spare is the desire to experience it all again.

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Upcoming Events

  • The Tempest April 23, 2015 at 7:30 pm – April 25, 2015 at 8:30 pm Robsham Theater
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