Tag: SPAC

  • Swinging into SPAC for an Evening of Dance

    It’s not every day you get an education and a show in one sitting, much less for free. But Saratoga Performing Arts Center (SPAC) is full of surprises — that’s because they love their proud little city. That much was obvious on Thursday, December 12, when I set foot onto the glorious ballroom floor at the Hall of Springs for Winter of 2019’s Freihofer’s “Live at the Jazz Bar: Swing Night.”

    Chris Shiley, SPAC’s Senior Director of Artistic Planning, said this is their third winter doing Live at the Jazz Bar nights. Winter’s evenings are seldom. In the summertime, however, Live at the Jazz Bar happens once a month, typically rotating themes from swing, Latin, and ballroom dances, all of which are preceded with a lesson. Winter Jazz Bar nights are geared toward getting the greater Saratoga community out to have a good time and raise awareness of SPAC’s upcoming activities.

    SPAC Evening of Dance

    The Hall of Springs boasts 38-foot ceilings, from which hung three
    crystal chandeliers that twinkled from the gold and red lights shooting up the sides of the Tuscan columns from projectors. Annie and the Hedonists, a tight band of five specializing in swing and blues of the ’20s, ‘30s, and ‘40s, had a modest setup on the floor’s center. Around it, dancers young and old gathered for pre-performance dance lessons lead by Tango Fusion Dance Studio’s Johnny Martinez and Diane Lachtrupp.

    Martinez began the session by teaching each individual the triple step. It was simple enough: 1-2-3 tiny steps to the right, 1-2-3 steps left, then a rock on your right foot, and repeat. It was time to grab a partner. I faded into the background, knowing I had come alone. But assistant Jennifer Emmons beckoned me to return to the floor and take her hand. I complied, but flushed red, convinced that I would literally be stepping on her toes.

    SPAC Evening of Dance

    I did not. Jen was a very good teacher. She had been training to instruct at the studio after having spent five years as a dedicated swing dancer. Apart from my occasional misstep, Jen taught me how to keep up with her. By the end of the lesson, we were effortlessly scuttling one direction, then another, then spinning apart and coming back together.

    “Dancing is like a language,” she told me—a motto of the studio, I later learned from Diane Lachtrupp. “Once you learn, you can dance with anyone.” The follower, usually a woman, needs to listen to the leader (usually a man, though in this case, I was following Jen’s lead) so that the conversation can keep going.

    SPAC Evening of Dance

    The lesson was over and the band began to play. The songs performed by Annie and the Hedonists were a perfect compliment to what the room just learned. Dancers in pairs bounded about the floor, swinging in and out and back and forth. The band kept the crowd guessing as they jumped from classics like “Blue Light Boogie” to “Walk Right In, Walk Right Out;” then to “I’ve Got My Love To Keep Me Warm,” each tune matched the energy in the room.

    Lead vocalist Annie Rosen was complimented by guitarist Jonny Rosen, bassist Don Young, and Peter Davis on keyboard and saxophone. No feet hid underneath tablecloths. Even those who weren’t dancing stood and bobbed their heads to the catchy tunes. A favorite of Annie and the Hedonists is to interpret the music of early female jazz vocalists such as Billie Holiday and Ella Fitzgerald, both of whom were represented beautifully by the passion in Annie Rosen’s voice during the performance.

    The next Freihofer’s Night at the Jazz Bar has yet to be scheduled. But Mr.
    Shiley has assured that SPAC will be scheduling it once they finish out 2019. For more information on events at SPAC, please join their mailing list. For more information on Tango Fusion Dance Studio events, email stepdl@aol.com. To learn more about Annie and the Hedonists visit their website.

    Review and photos by Jenn March

  • Alanis Morissette, Garbage and Liz Phair Team Up for 2020 Tour Celebrating 25th Anniversary of ‘Jagged Little Pill’

    Alanis Morissette has announced a 2020 tour celebrating the 25th anniversary of her album Jagged Little Pill.  Fellow ’90s classmates set to join the tour are Garbage and Liz Phair. With a kick-off June 1 in Portland, OR, the tour is set to make 31 stops. Two of which will be in New York. They will take the stage on June 26 at LiveNation’s Northwell Health at Jones Beach Theater. On July 8, the alt-rockers will perform at SPAC in Saratoga Springs.

    Ticket presales will start on Dec. 10 at 11 a.m. local time. The regular sale will follow on Dec. 13 at 11 a.m. local time. Fans can sign up here to be included in the presale if signed up by Dec. 8. All sales will include a digital download of Morissette’s newly released single “Reason I Drink.” Ticket holders also will receive a copy of the brand new album Such Pretty Forks in the Road, her first album since 2012.

    Jagged Little Pill was Morissette’s third studio album and the first released worldwide. It went on to sell 33 million copies and win five Grammys and was recently turned into a Broadway musical.

    Alanis Morissette 2020 Tour Dates:

    June 2—Sunlight Supply Amphitheatre—Portland, OR
    June 3—White River Amphitheatre—Seattle, WA
    June 5—Concord Pavilion—Concord, CA
    June 7—USANA Amphitheatre—Salt Lake City, UT
    June 9—Hollywood Bowl—Los Angeles, CA
    June 10—Ak-Chin Pavilion Phoenix, AZ
    Jun. 12—Austin360 Amphitheater – Austin, TX
    June 13—Walmart AMP—Rogers, AK
    June 14—Dos Equis Pavilion—Dallas, TX
    June 17—Midflorida Credit Union Amphitheatre—Tampa, FL
    June 18—Coral Sky Amphitheatre—West Palm Beach, FL
    Jun. 20—Ameris Bank Amphitheatre—Alpharetta, GA
    June 21—PNC Music Pavilion Charlotte, NC
    June 23—Coastal Credit Union Music Park at Walnut Creek—Raleigh, NC
    June 26—Northwell Health at Jones Beach Theater—Wantagh, NY
    June 27—Xfinity Theatre—Hartford, CT
    June 28—BB&T Pavilion Camden, NJ
    July 1—PNC Bank Arts Center—Holmdel, NJ
    July 2—Merriweather Post Pavilion—Columbia, MD
    July 3—Veterans United Home Loans Amphitheater—Virginia Beach, VA
    July 6—Bank of New Hampshire Pavilion—Gilford, NH
    July 8—Saratoga Performing Arts Center—Saratoga Springs, NY
    July 9—Xfinity Center—Mansfield, MA
    July 11—Budweiser Stage—Toronto, Ontario
    July 16—Ruoff Home Mortgage Music Center—Noblesville, IN
    July 17—Hollywood Casino Amphitheatre—Tinley Park, IL
    July 18—Hollywood Casino Amphitheatre—Maryland Heights, MO
    July 21—DTE Energy Music Theatre—Clarkston, MI
    July 23—Blossom Music Center—Cuyahoga Falls, OH
    July 24—Riverbend Music Center—Cincinnati, OH
    July 25—Bridgestone Arena – Nashville, TN

  • Aldean Rides All Night into Saratoga

    Jason Aldean played Saratoga Performing Arts Center on Thursday, September 5th to a solid crowd of country lovers of all ages. His return to upstate NY was greeted enthusiastically by fans who loved his top pop-country song of the summer “Rearview Town.”

    Openers Carly Pearce and Kane Brown set the scene for a fun and energized night of popular country music. Kane’s opening was stylistically a mix that was unique for country, complete with a visual set that replicates more pop and rap music than the traditional country look. Pearce sounded amazing and is a major up-and-comer in the country scene. Watch for her to be one of the new top female artists in the industry.

    Photo by Claude Sawyer

    Aldean entered the stage in jeans, a black Motley Crue T-shirt, and a cowboy hat with his guitar slung over his shoulder. The words “Ride All Night Tour” shone in bright letters as Aldean’s shadow crossed behind the stage when he arrived, welcoming fans with a giant “What’s Up, New York!”

    Aldean gave the fans what they wanted: his most popular hits. While some country stars use concerts to promote new music, Aldean played familiar and loved hits from throughout his career, not just his recent releases.

    Every year, Aldean plays “Dirt Road Anthem,” a different song from his others in that it includes some rap elements. The crowd sang along to the song that emphasized the importance of enjoying your friends and being a good person.

    Aldean bucked the tradition of waiting for fans to cheer for an encore. Instead, announcing he would stay on the stage and give more music to fans. He then sang a longer than usual end of the concert with upbeat fan favorites that became sing-alongs. Aldean truly can ride all night. Here’s to wishing he performed at SPAC more than once a year.

  • In Focus: Outlaw Music Festival 2019 Rolls Through SPAC

    For one of SPAC‘s final concerts of the 2019 season, the Outlaw Music Festival brought a full afternoon and evening of music and vendors to the park.

    This year’s Outlaw Music Festival tour began in Maine back in June and has featured a rotating roster of performers throughout the summer with Willie Nelson & Family as the anchor for each show.

    Joining Willie Nelson at SPAC were Pernikoff Brothers, Brothers Osborne, Alison Krauss, and Bonnie Raitt. Deadheads had been looking forward to Phil Lesh & Friends as part of the bill, but instead found themselves wishing Lesh a speedy recovery from a minor back surgery done earlier in the summer.

    Check out a few photos from the Brothers Osborne and Alison Krauss sets below.

  • In Focus: Cardi B ‘Femme it Forward’ tour at SPAC is pure Money

    Rapper Cardi B brought her ” Femme It Forward” tour to Saratoga Performing Arts Center on Friday September 6th. The South Bronx native had originally been slated to perform on May 26, but rescheduled the show to September, but that didn’t keep the fans from packing SPAC.

    Cardi gave fans a short 50 minute set, but fans didn’t mind as she churned through her hits, even though hits like “Money” and others were consensed from their album length. With multiple costume changes, plus Nicole Bus and Teyana Taylor leading the way, Cardi B gave Saratoga a night to remember.

  • SPAC to Present Beethoven’s Complete Cycle in Four Days with Philadelphia Orchestra in 2020

    The Saratoga Performing Arts Center together with The Philadelphia Orchestra have announced a celebration of the 250th birthday of Ludwig van Beethoven to take place in 2020. In a concentrated four-night event, August 12-15, 2020, The Philadelphia Orchestra and Music Director Yannick Nézet-Séguin will present Beethoven’s Complete Cycle of Symphonies in dialogue with music by composers of today.  The Philadelphia Orchestra has commissioned works that reflect on the relevance of Beethoven’s legacy today by its Composer-in-Residence, Gabriela Lena Frank, and a diverse group of composers from her Creative Academy of Music – including Jessica Hunt, Carlos Simon and Iman Habibi.   

    “Traversing the complete Symphonies of Beethoven is a profound and deeply moving musical experience.  To hear them under the baton of the great Yannick Nézet-Séguin, in such a concentrated period, will be an artistic experience unlike anything we have ever presented at SPAC,” says Elizabeth Sobol, President and CEO of the Saratoga Performing Arts Center.  “Though Yannick and the Orchestra will also be performing the cycle in Philadelphia and at Carnegie Hall, only at SPAC will audiences be able to experience the symphonies in this immersive and virtually unprecedented manner.”

    Beethoven's Complete Cycle

    “We are incredibly excited to share the majesty of Beethoven’s masterpieces in four consecutive nights with our beloved fans in Saratoga,” said Philadelphia Orchestra Music Director Yannick Nézet-Séguin. “By pairing his groundbreaking works with new companion pieces, we look forward to creating fresh perspectives on Beethoven’s legacy today. It will surely be an exhilarating and deeply moving experience unlike anything we’ve ever presented before at SPAC.”

    Beethoven 2020: The Philadelphia Orchestra Beethoven Cycle at Saratoga Performing Arts Center August 12-15, 2020

    Wednesday, August 12th

    Conductor: Yannick Nézet-Séguin

    Carlos Simon: Work in Dialogue with Beethoven – PHILADELPHIA ORCHESTRA COMMISSION

    Beethoven: Symphony No. 8

    Beethoven: Symphony No. 4

    Beethoven: Symphony No. 7

    Buoyant and humorous, the Eighth Symphony belies none of the composer’s worsening health issues or what had to be the devastating end of a love affair, detailed in a famous letter written around the same time to his “Immortal Beloved.” Perhaps the least known, the Fourth was widely admired: Schumann compared it to “a slender Greek maiden” between the two “Norse giants” of the Third and Fifth; Berlioz insisted it was the work of an angel. And Tchaikovsky described the triumphant Seventh as “full of unrestrained joy, full of bliss and pleasure of life.” The exhilarating and familiar second movement is said to have been so inspiring at the premiere, an encore was demanded instantly.

    Thursday, August 13th

    Conductor: Yannick Nézet-Séguin

    Jessica Hunt: Work in Dialogue with Beethoven – Philadelphia Orchestra Commission

    Beethoven: Symphony No. 2

    Beethoven: Symphony No. 3 (“Eroica”)

    Beethoven was just beginning to go deaf when he wrote his Second Symphony and though he was losing his hearing, he was finding his voice. He could have composed a manifestation of despair, but instead gave the world one of his most ebullient and life-affirming works. The Third Symphony was groundbreaking, a turning point in the composer’s oeuvre and a watershed in musical history. A vast ode to heroism, revolution, and freedom, the “Eroica” is considered by many to be the greatest not just of Beethoven’s symphonies, but of all time.

    Friday, August 14th

    Conductor: Yannick Nézet-Séguin

    Iman Habibi: Work in Dialogue with Beethoven – PHILADELPHIA ORCHESTRA COMMISSION

    Beethoven: Symphony No. 5

    Beethoven: Symphony No. 6 (“Pastoral”)

    The indelible four-note opening of Beethoven’s Fifth Symphony lays the foundation for a truly fateful symphonic journey. Written in 1804, and on the program when The Philadelphia Orchestra gave its first concert in 1900, it’s an epic tour de force that resonates in 2020. Following its rousing conclusion come the verdant valleys and sweet smells of the woods and the Austrian countryside, an exposition of Beethoven’s love of nature. Composed and premiered at the same time, the “Pastoral” offers a striking contrast to the assertive Fifth.

    Saturday, August 15th

    Conductor: Yannick Nézet-Séguin
    Chorus: Albany Pro Musica Concert Chorus

    Frank: Work in Dialogue with Beethoven – PHILADELPHIA ORCHESTRA COMMISSION

    Beethoven: Symphony No. 1

    Beethoven: Symphony No. 9 (“Choral”)

    Beethoven was just 25 when he wrote his First Symphony. Delightful and high-spirited, floating on strains of Mozart and Haydn, it’s a fascinating glimpse of the greatness and genius to come—all on full, glorious display in the climactic Ninth. Written just a few short years before his death, “Beethoven’s profound ode to brotherhood, salvation, and pure joy reminds us why we are here as an orchestra,” says Yannick, “and why we constantly try to make our world better by playing music.”

    For more information visit Spac.org

  • Santana Thrills at SPAC

    Legendary guitarist Carlos Santana and his band delighted fans at Saratoga Performing Arts Center (SPAC) on Friday, August 23 on part of his Supernatural Now Tour.

    Coinciding with the anniversary of Santana’s 50th anniversary at Woodstock, the Supernatural Now Tour initially felt like a substitute for the long-promised (and repeatedly canceled) Woodstock concert.

    Santana SPAC

    Playing after the Doobie Brothers, who got the crowd on their feet dancing and singing along for a solid hour before the main event, Santana came out at 8:45 pm after showing a montage of Woodstock photos accompanied by some sultry, jazzy guitar, trumpet and keys. The photos started with a hand-painted sign from the 1969 concert stating “War is not healthy for children and other living things.”

    Not only did the photos serve as a reminder that the then 19-year-old Santana shocked the world with his talent on the guitar at Woodstock, but that he has spent the last 50 years impressing crowds – and is still impressing them – with his passionate commitment to using music to empower others to do right by the earth. To top it off, the montage was accompanied by the music of one of Santana’s influences, Miles Davis.

    Santana SPAC

    Opening with one of Carlos’s earliest compositions, “Soul Sacrifice,” Santana and the band began the night with a heavy emphasis on jazz fusion with elements of rock. Santana’s soulful signature sound came through immediately as he shared the stage with other incredibly inspiring musicians. His wife Cindy Blackman Santana, a creative percussionist and legend in her own right, was captured by overhead cameras demonstrating precision and strength on drums that was inspiring. Ray Green and Andy Vargas were on vocals, Benny Rietveld, perhaps best known for his touring with Miles Davis, was on bass, and David Mathews was demonstrating how keyboards can lend swing to the melody. Rounding out with Karl Perazzo and Paoli Mejias, also on percussion, and Tommy Anthony on guitar, the Supernatural Now Tour appeared unnaturally gifted with musical genius.

    While better known for a few of his popular hits in the 1990s, Santana is powerful in his intuitive fusion of rock, Latin and jazz. He’s expanded interest to African music, recently releasing Africa Speaks. The combination of styles was the right formula to get the crowd dancing, and to show off the creative aptitude of the band. Their performance of “Jin-go-bo-la,” accompanied by a video of African men and women dancing in traditional garb, intensified the high energy of the crowd. Smoothing into “Evil Ways” right afterwards, the vocalists shone while demonstrating flexibility in pitch, style and presentation.

    The diversity of music styles kept fans guessing about what would happen next. From hosting the Doobie Brothers back on stage for “Some Kind of Wonderful” to instrumentals featuring Carlos Santana’s ever-evolving but still consistent signature sound, the concert was constantly shifting, expanding musical styles and blowing through boundaries.

    Of course, the crowd went wild for “Oye Como Va,” a popular favorite. Dancing in their seats, fans were inspired by the powerful drumming and compelling vocal performances.

    Santana SPAC

    And then there was Santana on guitar, vital and creative as ever. The 69-year-old was spry as he moved across the stage, still curious about music, still passionate about sound and movement.

    The musicians used bongos, whistles, maracas, tambourines, trombones and, of course, their voices, drum sets and guitars to really shake up the sounds. It was more like attending a world music concert than a pop or rock concert, which is just what Santana wants. Honoring Coltrane and Davis, he reflected on his love of jazz but also moved to include some Latin and African roots music too.

    Carlos Santana is passionate about peace, children and saving rainforests. He was proud to have his family on stage with him, and his smile and brief words reflected a man who has found his place in the world. He’s passionate about music and expanding boundaries. And from listening to the songs from his new work, Santana’s passion is keeping him as vital and youthful as ever.

  • Beck and Cage the Elephant Stampede Saratoga

    Beck and Cage The Elephant arrived in Saratoga on Monday night, as it was the next stop in their Night Running Tour, which will conclude at the end of August. The night was kicked off with a bang, as the New York City based Sunflower Beans brought an energetic indie-rock sound, bringing the early-arriving crowd to their feet. Their set was followed up by Spoon, who kept the same pace and energy as the Sunflower Beans, despite being two decades older.

    Cage The Elephant took the stage shortly after the Spoon’s set. The lights all fell, and the Bowling Green native band was silhouetted by the surrounding pyrotechnics. Eventually Matt Shultz, the band’s lead singer, emerged wearing an outfit you’d only imagine from a Cage The Elephant frontman— a grey trench coat, a masquerade mask, a straw sunhat and an assortment of accessories on various satchels donned by the singer. This was the outermost of many (and I mean many) layers that Shultz was wearing. Throughout the set he unpeeled each layer, revealing strange outfit after strange outfit, until he was left in a nude leotard and red short-shorts. These layers of clothing didn’t impede Shultz’s mobility in the slightest however, as there wasn’t a single minute in the 19-song-set that he wasn’t running, dancing, jumping, or leaning hard into each and every lyric.

    Beck and Cage the Elephant
    Photo by Jim Gilbert

    Cage just released their fifth studio album, Social Cues, this past April, so naturally, they played many tracks from the new record, including; “Broken Boy,” “Social Cues,” “Ready To Let Go” and various others. As the set went on the energy of the band never slowed, keeping the thousands in attendance dancing right along. Playing hits such as “Ain’t No Rest For The Wicked,” “Come A Little Closer” and “Cigarette Daydream,” before finally finishing their set with “Teeth.” However, just because the band was done didn’t mean Matt Shultz was. Midway through the last song the singer left the stage and began to make his way through the crowd, and didn’t stop when the song concluded and his bandmates left the stage. Shultz continued on, making his way through the amphitheatre, eventually reaching the lawn, where he crowd-surfed all the way up to the concourse and eventually made his way to the balcony, embracing and entertaining fans the whole way. It was almost 20 minutes after the set that Matt Shultz made his backstage, however, we hadn’t seen the last of him yet…

    After Cage The Elephant’s long and exhilarating set it was hard to believe we still hadn’t seen the main act. But, sure enough, there was another entire set to be seen, and it did not disappoint. Beck opened his portion of the night with an acoustic slide guitar solo, such as one you may hear in an Old Western, that solo transitioned into arguably his most recognized song, “Loser.” Beck’s set was filled with his signature indie-rock-rap music, impressive solos from him and his band, bright lasers and lights, and fans who had not stopped dancing since the night began. The night did slow down for a few minutes, when Beck gave a touching speech, talking about his mother who was in the crowd, the importance of savouring what you have and not taking anything for granted – this did not disappoint the fans though, as they continued to cheer and show their support. Beck then covered the Korgis “Everybody’s Gotta Learn Sometime,” then played his own “E-Pro,” before exiting the stage in preparation for the encore that was surely to follow.

    Beck began his encore with the sound of the iconic guitar intro of “Where It’s At,” leaving no one unsure of what song was being played. Once that was over Beck gave an unexpected but riveting harmonica solo, beginning his 1994 song “One Foot in the Grave.” Following this, Beck invited the Spoon singer, Britt Daniel, to come back on stage and asked him what he song he wanted to play, Britt replied, “Pump It Up” by Elvis Costello, and so that became the third song of the encore.

    Next, Beck invited yet another singer back on stage, this time Cage The Elephant frontman Matt Shultz (who came out wearing yet another exotic outfit, this time complete with a yellow rain jacket and hat). Beck and Shultz sang their recent single together, “Night Running” (of which the tour was named after), followed by a reprise of “Where It’s At,” during which confetti rained from the amphitheatre before the night finally came to an end. 

  • Fela! The Concert brings the music of Afrobeat founder to SPAC

    The life of Afrobeat’s founder, Fela Kuti, was celebrated in the 2009 Broadway musical concert Fela!, and on Monday, July 29, the concert experience celebrating his music came to an enthusiastic, and curious, crowd at Saratoga Performing Arts Center. Kuti used the Afrobeat sound to push back against the post-colonial government of Nigeria in the 1970s, a prime example of Kuti’s mantra “music is the weapon of the future.” As it was then and is now, new era protest music and this performance brought Kuti’s music to life for all to draw from.

    Fela The Concert
    Photo by Jim Gilbert

    With a 10-piece band on stage, including three percussionist and four horns, as well as an ensemble with five members (2 men, 3 women) who sang alongside Duain Richmond (Fela Anikulapo-Kuti), the stage was lit up through dance. One that had fervor and energy not seen at SPAC in ages. This was not dancing for the faint-of-heart, or hips, as Richmond said to the crowd throughout the show: “Everybody say Yeah Yeah.” Audience engagement that is a hallmark of Afrobeat concerts became coupled with some of the best on-stage dancing you’ll find anywhere.

    With the start of “Expensive Shit,” Richmond led the band to give the audience an introduction to Afrobeat. Starting with the drums, then guitar, then bass set the groove, and soon the horns came in. If you were not moving, you should check your pulse. The ensemble taught the crowd how to dance by moving their hips to the hours on a clock. “1 & 7,” “3-6-9” and “12 & 6” got the booties shaking and fans out of their seats. Dancing from ensemble members Oneika Phillips, Iris Wilson and Afi Bijou became more furious and fully engaging.

    “Zombie” found the crowd being invited into the covered orchestra pit, where each audience member shook what they had. From kids to parents, and grandparents, everyone was getting down to the beat of the band. As the show closed with “Colonial Mentality,” Kuti’s anti-colonial anthem, the crowd was back in the pit dancing with the ensemble, and Richmond, engaging in a form of protest that Kuti would surely look upon with a smile and hope for the future.

    Setlist: Everything Scatter, The Clock – Yellow Fever, Ikoyi Blindess, Trouble Sleep Yanga Wake Am, Expensive Shit, Water No Get Enemy, Zombie, Sorrow Tears and Blood, Opposite People, No Buredi.

    Encore: Colonial Mentality.

  • Fela! The Concert, to Electrify SPAC on July 29

    Full of energy in constant motion, Fela! The Concert will bring the award winning Broadway musical to Saratoga Performing Arts Center (SPAC) on Monday, July 29. The sensual, eclectic sounds and powerful lyrics of Fela Kuti, the founding father of Afrobeat, prove why he became one of the world’s most celebrated and rebellious music legends of the 60’s, 70’s and 80’s. Set against a soaring canvas of projected images, Fela! The Concert is driven by the electrifying rhythms from a live Afrobeat band, with singers and dancers who bring to life Fela’s provocative spirit. Fela! The Concert features members of the original Broadway cast from the highly acclaimed Tony Award winning production Fela! This unique concert experience radiates joy and leaves audiences on their feet wanting more.

    Prior to Fela! The Concert, at 7 p.m. SPAC will present a high-energy, professionally choreographed final performance by 80 local children who have been participating in The Performance Project: Youth in Motion. Led by the award winning National Dance Institute and presented in partnership with the Capital District and Saratoga Regional YMCA’s, SPAC’s Performance Project is a two-week dance intensive designed to teach children dance skills while instilling in them a belief in their own abilities and capacity to achieve success.

    More information on Fela at SPAC can be found here.