Opera Saratoga has announced a new festival model for large scale summer performances in 2022. The season will include big performances of the Barber of Seville, Petite Messe Solennelle, Sky on Swings, Sweeney Todd, and many more.
The performances will take place across June and July across multiple venues throughout the region. Opera Saratoga summer season plans on embracing partnerships with the Proctors in Schenectady; The Egg in Albany; Saratoga Performing Arts Center in Saratoga Springs; The Round Lake Auditorium in Round Lake Village; The Barn at French Mountain in Lake George Village; and The Mansion Inn in Rock City Falls.
Opera Saratoga’s Artistic and General Director Lawrence Edelson spoke on the new season model saying,
We began asking, with so many remarkable theaters in our region, might we be able to better serve our mission by reconceiving our Summer Festival in a way that doesn’t limit us to a single venue? While we remain committed to producing in Saratoga Springs, as the opera company of the Capital Region, our goal is to provide access to our Summer Festival programming in the same way we are able to do with our year-round programs. We are incredibly excited by the opportunities of this expanded Festival model, and grateful for the opportunity to partner with so many like-minded organizations across the region to make it possible.
Lawrence Edelson
The summer season will start with Petite Messe Solennelle on June 2 and June 3 at 7:30PM. The show will be presented by Opera Saratoga in partnership with The Round Lake Auditorium featuring music by Gioachino Rossini. The season will wrap up with The Barber of Seville – IL BARBIERE DI SIVIGLIA on JULY 8 at 7:30PM and JULY 10 at 2PM. The show will be produced by Opera Saratoga in Partnership with Proctors featuring music by Gioachino Rossin.
Tickets for the 2022 Summer Festival will be available through Festival Passes and Single Tickets. Festival Passes, which provide a 20% discount on single ticket prices and priority seating for all productions and events, will be available beginning February 1, 2022. Single Tickets will go on sale March 15, 2022. Audience members will be required to show proof of vaccination against COVID-19 for all performances, and masks will be required based on prevailing conditions at the time of the Festival. All policies may be adjusted in response to changing conditions, and based on the specific requirements of each venue.
For more information on the Opera Saratoga’s new festival model visit their website.
The full lineup for Opera Saratoga Summer 2022 is listed below:
PETITE MESSE SOLENNELLE
June 2 and June 3 @ 7:30pm
Presented by Opera Saratoga in partnership with The Round Lake Auditorium
Music by Gioachino Rossini
A BROADWAY CABARET
June 12 @ 2pm and 7pm
Presented by Opera Saratoga in partnership with The Mansion Inn
A JUNETEENTH CELEBRATION WITH SIDNEY OUTLAW
JUNE 19 @ 2:30pm
Produced by Opera Saratoga in Partnership with Proctors
SWEENEY TODD – THE DEMON BARBER OF FLEET STREET A MUSICAL THRILLER
JUNE 29 and JUNE 30 @ 7:30pm
Produced by Opera Saratoga in Partnership with the Saratoga Performing Arts Center
Music and Lyrics by Stephen Sondheim
SKY ON SWINGS
JULY 7 @ 7:30pm and JULY 9 @ 2pm
Produced by Opera Saratoga in Partnership with The Egg
Music by Lembit Beecher
THE BARBER OF SEVILLE – IL BARBIERE DI SIVIGLIA
JULY 8 @ 7:30pm and JULY 10 @ 2pm
Produced by Opera Saratoga in Partnership with Proctors
As the spark from one tiny blaze affects various live music re-schedules and new formats to end this year, it becomes important to reflect on how far we’ve come in the past 12 months. As I picked up my matches and was closing the door I had one of those flashes I’d been there before, been there before. 2020 marked the first year of major live music cancellations since Phish’s Curveball Festival in 2018.
However, the show of life must go on. Music finds its way throughout history. We live in the same world where the Vatican once outlawed the saxophone because of its effects. Perhaps the most soulful instrument made its way into the best musicians’ hands across the world over time. In similar fashion, many artists around the state immediately went to the streaming options of performance to not skip a beat. Landscapes and climate also play a big part in what’s capable of music. The summer of 2020 in Upstate New York really showed that distanced live shows were easily doable in these spaces now turned venues.
The Sunshine State started things officially live in 2021. Artists like Dumpstaphunk and Oteil Burbridge resurrected Suwanee’s festival grounds in Northern Florida for a Mardi Gras celebration in February. The North Beach Bandshell in Miami hosted these artists in the spring as well. Both with an option to stream the show or attend it live as we took small steps in reopening this year. The new split screen viewing choice if you will, is something that has almost become the new norm. Do we drive to the show or should we just stay home and stream it?
Oteil Burbridge, Miami Beach, April 2021
The most important thing to come out of this year in live music has been the unexpected artist collaborations. Many of which occurred due to ever changing last minute safety protocol changes backstage. All of the road crew, managers, promoters, and all the people behind the scenes deserve praise handling these alterations so that the show will go on so you could buy a ticket again. A buyer beware mentality has taken on the ticket sales in 2021 with various pending circumstances till the day of the event it seems.
Artists however have been on their musical game at the highest level possible as of lately. Alan Evans told NYS Music in February:
For me it’s like a cleanse, to really look at my life, I can’t just do any old gig , I just take everything away and have time to step back and feel what’s really important. What do I want my life to be about? That’s been a positive for me and I hope it’s like that for a lot of people.
Alan Evans
New Orleans artist Tony Hall had not collaborated with Dave Matthews and Tim Reynolds since their Some Devil Winter 2003 tour. While his band Dumpstaphunk was opening for Dave Matthews Band Labor Day weekend at the Gorge some last minute changes came up. A safety protocol factor had forced bassist Stefan Lessard and drummer Carter Beauford to sit out their first gig in over thirty years. DMB’s Keyboardist Buddy Hall moved to drums and Tony Hall, who was familiar with the catalog, picked up bass on the spot for all three nights so that the show went on. No cancellations, just an alternate format. Silver linings at their finest to bring artists like Dave, Tim, and Tony to play together again for the first time in 14 years. Dumpstaphunk even split the bill for DMB’s two sold out tour closing shows at Madison Square Garden.
Robert Randolph and the Family Band also assisted as part of the alternate format at the Gorge Amphitheater Labor Day weekend shows. His entire band took center stage alongside Dave Matthews and Friends. Robert kicked off New York State’s first free musical festival at the state fairgrounds in June. Randolph was part of the blues festival’s new home at the State Fairgrounds this year. Dumpstaphunk was the last to play its old home in downtown Syracuse’s Clinton Square in 2019. Tony Hall and drummer Devin Trescalir hit up Syracuse’s Funk n Waffles after the 2019 festival. Robert and his band took to Syracuse’s newest music club Jus sum Jazz lounge after the gig in 2021. Them changes. Roll with the funk and turn it around now.
Dumpstaphunk, Syracuse 2019
We should also honor the collaborations that the never ending uncertainties of life’s protocol throw at us as well. The Trey Anastasio Band lost founding bassist Tony Markellis this past Spring. Tony still had his final bow of performing on stage in 2020 with his band mates at the infamous Beacon Jams residency. The first of its kind that still showed how good music will find a way to the masses.
Tony Markellis told NYS Music last November regarding an empty Beacon Theater about his fond memories of playing TAB Fall Tour’s of the past to full theaters in Utica. So full that the balcony was “rocking to the beat of humanity.” His groove carries in “Long Lines” to all future cast members of TAB. The Trey Anastasio Band also took on a new saxophone player for their Fall 2021 tour due to saxophonist James Casey’s personal health challenge.
The freshly formed ensemble itself had another onstage audible due to safety protocol. The band had yet another alternate format the last two nights for the tour’s closing shows at Radio City Music Hall. For the first time outside of Phish, and Trey’s 2019 composition with Tony Markellis on Ghosts of the Forest, Syracuse native drummer Jon Fishman joined him at 30 Rock to finish the tour. Jon and Trey’s first time at Radio City since 2000.
The two night run in Rockefeller felt almost entirely composed by the improvisational material one seeks at any show. How fitting was it that James Casey special guested for the encore on the deep cut “A Life Beyond the Dream” off Ghosts of the Forest only album? It was also Trey’s last performance on his Manhattan island for 2021 after his lonely trip the year prior. Phish has moved their four night New Year’s eve shows at Madison Square Garden till 4/20/2022.
Instead Phish will play a live stream from the 9th cube with its Bat Cave like location to be unveiled on New Year’s Eve. TAB members Russ Lawton and Ray Paczkowski with guest Rob Compa of Dopapod are playing Phish headquarters Nectars in Burlington, Vermont on New Years Eve to live crowd. Trey treated a newly renovated SPAC to a socially distanced three night run of acoustic shows in June and even reunited with Oysterhead for the first time in 20 years on July 4. Mike Gordon’s December 2021 shows in New York were acoustic with Leo Kottke for their first tour in more than 16 years.
Everything feels right since Phish’s last 4/20 show was with the Dave Matthews Band in Virginia in 1994. DMB and Phish crushed “You Enjoy Myself” into “Somewhere over the Rainbow” during the holiday show. The first time Dave Matthews heard Leroi Moore’s saxophone he played Somewhere Over the Rainbow against the Charlottesville bars cash register that Dave was tending at. A week prior to that show coincidentally was Phish’s last New York City April performance on 4/13/1994. What New York venue? The Beacon Theater of course. Ghosts of the Forest closed their tour in the Bronx on 4/13/2019. This could feel like the turn of the dial from Sirius XM’s DMB channel 29 to Phish’s channel 30 on any given day this year. Devon Allman played his father Gregg’s birthday at the Beacon this past December that honored his spirit as well.
Leroi Moore
As we start 2022, we still need to keep rocking to the beat of humanity. Don’t forget about the shows that the cosmos hold above for all of us around the world. They’ve never stopped in all of their live performance history. Jimi Hendrix mentioned it under New York skies during his Woodstock 69 performance. “The Sky Church is still here as you can see.”
Last December Jupiter and Saturn formed “Christmas Star” the first visible “double planet” in 800 years. This December the longest lasting partial lunar eclipse in 580 years formed the Beaver Moon. Not to be confused with the comet in Leonardo Dicaprio’s new film Don’t Look Up. There is Comet Leonard that has been viewed above at the end of this year moving 150,000 mph through space. We need to keep the same momentum with the world’s love for art and music in the new year. Legendary Little Feat’s track “Skin it Back” said it best…
So it seems that the world keeps on turnin’ but so what I don’t doubt it, It just keeps on the move.
Patti Smith was awarded the key to NYC by Mayor Bill de Blasio just weeks before the end of his term on December 27, 2021.
Patti Smith at Central Park Summerstage 10 by S. Malinski
The Key resembles the large skeleton key that opens the back door of City Hall, but is purely symbolic and it does not open any locks or doors in reality. It is a symbol of civic recognition and gratitude reserved for individuals whose service to the public and the common good rises to the highest level of achievement.
Although Patti Smith was actually born in Chicago, Illinois she has considered NYC as her adoptive city having grown up in South Jersey. Her love for the city is known wide and far so her receiving this symbol of civic recognition was obviously a big deal for her. Her reaction to this honor was saying,“I wish I could give New York City the key to me, because that’s how I feel about our city. With all its challenges and difficulties, it remains—and I’m quite a traveler—the most diverse city in the world. To receive this at 75, it makes me look even more forward to the next 25 years.”
De Blasio spoke of his decision to bestow the key to Patti Smith,”To me, Patti Smith has an authenticity that you just didn’t find… in that many places,” noting that she’s been called the “godmother of punk.”
De Blasio has been bestowing keys to a number of public figures apart from the legendary Patti Smith. Some of the public figures include legendary music producer Clive Davis (who helped stage the ultimately Mother Nature-interrupted “Homecoming” concert in Central Park), and Senate Majority Leader Chuck Schumer for his indefatigable support for the city.
Watch the full video of Patti Smith receiving this key bellow:
For more information on this Patti Smith being awarded a Key to NYC by Mayor Bill de Blasio read Pitchfork’s article on it here.
One of the most influential years in the history of Phish couldn’t end without a stop at MSG, The World’s Most Famous Arena, and it was 1997 that would bring the band to new highs, including their first ever three-night headlining bill at The Garden.
Today marks the anniversary of the second night in this run, a show marked by one of the greatest bust outs in terms of show gap, a legendary “Harpua” with assistance from Tom Marshall, and a handful of fan favorite cover songs played alongside some of the traditional heavy hitters. In addition to all the clips seen below, the entire show can be streamed here.
1997 Holiday Run shirt design by Erin Cadigan via PhanArt
After a quick discussion, Phish casually greets the Garden crowd with one of the greater bust outs of all time. It’s merely the first “Sneakin’ Sally Through The Alley” in 920 shows, last played at Ian McLean’s party in Hebron, NY in 1989, a likely much more intimate gathering. After shaking off some of the early rust, Phish easily settles into a funk groove so reminiscent of this era, fueled by Trey Anastasio on guitar with Page McConnell eagerly aiding and abetting on the clav.
Instead of ramping up towards a (now) customary vocal jam, the funk jam slowly devolves and Anastasio adds some digital delay loops as the tone shifts towards a much more ambient feel before the opening guitar lick of “Taste” ensues. McConnell throws down some thunderous play on the baby grand piano before yielding the floor to Anastasio for a spellbinding crescendo of electric guitar.
Things cool off a bit with the relatively new “Water In The Sky” that follows, still in its early, slower tempo. But Anastasio puts a stop to that quickly at song’s end, starting up the familiar strumming that initiates “Punch You In The Eye” and a quick stop at Gamehendge.
“Punch” goes off without a hitch and after some brief high-intensity feedback, Anastasio seems to make the audible call for “Stash.” Aside from the opening funk produced in “Sally,” this provides the other real notable jam of the first set, a brooding, mesmerizing sequence that has some distinct touches of “evil” Phish. Drummer Jon Fishman continues to push the pace to an almost alarming rate before the reigns are pulled back in, somewhat quickly, and the song finishes rather meekly.
To rev things back up, Phish resorts to a reliable figure, “Chalkdust Torture.” Fishman and bassist Mike Gordon steer the collective ship more than ably as Anastasio reaches back and delivers one last scorching first set guitar solo that the Garden crowd visibly devours with delight.
The first set that opened with a bust out comes to an end with a cover, this time The Beatles’ “A Day In The Life,” with Page McConnell on lead vocals. Some more extended feedback from Phish ends the song in a flourish as MSG collectively shows their appreciation at the conclusion of a rather short opening set, one that barely lasted an hour.
Anyone who would complain about that fact, would soon be put in their place thanks to the giant second set and extended encore for which this show is best remembered. It all starts off with, arguably, one of the better “AC/DC Bag”s ever played. It starts out innocently enough, but soon shifts back into that sinister tone that was prevalent in the first set. In vintage Phish style, simple melodies are stretched out, reexamined and continually revisited until all four band members are firing in sync like gears in a well-oiled machine. Throw in some classic ’97 funk, more relentless guitar play from Anastasio, a sprinkling of Gordon-supplied bass bombs, “Pyscho Killer” and “Third Stone From The Sun” teases and, 25 minutes later, you’ve got the latest in a (now long) line of Phish gems mined at MSG.
After an opening number that took up almost half of the length of the first set, Phish wastes no time in bringing it back to Gamehendge for a well-received “McGrupp And The Watchful Hosemasters.” The band deftly makes its way through the composed section of this classic song before giving way to a brief but beautiful two-person duel between Trey and Page on their respective instruments before it comes to an end.
Afterwards, the familiar oom-pa-pa intro of the first ever “Harpua” at MSG rings out and the Phish crowd erupts with glee. They would have good reason to as this would be a special one, dubbed the “Pentagram Harpua” based on Trey’s “life changing” narration. The following sequence includes nothing less than a Lost In Space reference, a young Trey crafting a pentagram out of lunch boxed goods, and Tom Marshall joining the fray for a hilarious cover of The Proclaimers’ “I’m Gonna Be (500 Miles).”
Phish keeps the proverbial pedal down after all of this madness and launches right into some more classic rock, this time it’s Jimi Hendrix’s “Izabella,” a now revered cover selection that debuted only earlier this summer. Anastasio simply annihilates the guitar solo and MSG is nearly combustible at this point.
Seizing this opportunity, Phish then goes all in with a majestic “Harry Hood” to cap a special sequence of music. A mild glowstick war early on gives way to a “Hood” that’s anything but, with Mc Connell producing a bevy of dulcet tones on the electronic keyboard and the customary mesmerizing guitar solo from Anastasio. It’s as well executed a “Hood” as they come and, along with “AC/DC Bag,” serves as a more than willing co-anchor as far as second set exploratory jams go.
In fact, the normally euphoric outro jam eventually develops into a full-on blues one and instead of bringing “Hood” to an end, Phish slides right into another cover tune – “My Soul.” Steady bass play from Gordon provides the floor for another scorching guitar solo as the band romps effortlessly through another recently debuted favorite. This is followed up with a “Sleeping Monkey” that brings a little levity to the ending portion of the set. Trey then thanks the MSG crowd, promising one “last” song that turns out to be “Guyute,” one of the key tracks from the yet-to-be-released Story Of The Ghost.
Phish fan shirt from the 97 Holiday run via PhanArt
Tonight’s encore gets the 1997 New Year’s Eve celebration off to a rollicking start. Trey begins the encore noting the closeness to midnight and that the band may as well “play two New Year’s Eve shows.” Turns out he wasn’t kidding as Phish then proceeds to drop down one of the more legendary encores of their playing career. Things start off with yet another new number to live repertoire, “Carini,” which features a quick stand-in by the man himself, Phish crew member Pete Carini.
After those pleasantries are dispersed, Phish then immediately drops back into a molasses-thick funk jam that soon reveals itself to be “Black Eyed Katy.” Although not known at the time, this instrumental steeped in cow funk would be the last one ever played before lyrics were added and it would go on to live the rest of its days as “The Moma Dance.”
“Katy” then eventually turns back into “Sally” as Phish slyly segues back into it and revisits the bustout opener in the encore for another go ’round. And as if all this weren’t enough, “Frankenstein” replete with feedback galore, strobelight insanity and Jon Fishman on vacuum for good measure. When all is said and done, it’s a near 30-minute encore that wraps up one memorable New Year’s Run gig, or just another ho-hum Phish show at MSG depending on how you look at it.
Phish Madison Square Garden – New York, NY 12/30/97
Set 1: Sneakin’ Sally Through The Alley -> Taste, Water In The Sky > Punch You In The Eye > Stash, Chalkdust Torture, A Day In The Life
Set 2: AC/DC Bag > McGrupp And The Watchful Hosemasters, Harpua > I’m Gonna Be (500 Miles) > Harpua > Izabella > Harry Hood -> My Soul > Sleeping Monkey > Guyute
E: Carini -> Black Eyed Katy -> Sneakin’ Sally Through The Alley > Frankenstein
Joshua Thew, a London-born, Brooklyn-based singer, songwriter and former member of the New York City Ballet, has released a new single, “Lose Myself,” accompanied by a cinematic music video directed by Jake Kolton.
Thew’s soulful vocals are front and center on “Lose Myself,” demonstrating his first passion (music was the reason he became a dancer in the first place.) In 2017, after nearly a decade in the Company, Thew left the professional dancing space behind to pursue another dream.
Thew grew up in Hertfordshire, England, just north of London, and moved to New York City in 2005 to study at The School of American Ballet, which led to a spot in New York City Ballet.
As I got into my mid to late 20s, I started to feel like I wanted to be in the real world. You live and breathe [ballet], and it’s such a small niche world. I just wanted to get out and make original music.
Joshua Thew
Working with producer and multi-instrumentalist Cale Hawkins at Greylock Studios in Brooklyn, Thew began composing songs in earnest, drawing on classic influences like Donny Hathaway, Nina Simone, and Lee Hazlewood as sources of inspiration. Thew added a contemporary spin, invoking modern icons such as Amy Winehouse and Frank Ocean.
As a singer, Thew creates highly stylized yet unpretentious ballads about love, loss, and starting over. The lush, aching “Lose Myself” chronicles a two-year relationship that ultimately had to end but gave Thew renewed hope around romance itself.
Ultimately, Thew is eager to ingratiate himself with listeners, who will no doubt feel an instant connection to his gentle, meditative ballads. Though he’d been considering a career change for some time, watching fellow dancer and Tony-winner, choreographer Justin Peck doggedly pursue his goals nudged Thew to take a crucial leap.
I just remember always watching him; we were in class together. Dancing was a thing for him, but choreography was always his thing. I remember watching him and part of me would be like, ‘he’s really doing what he really wants to do.’ And that’s how I felt about singing.
Joshua Thew
“Lose Myself” will be featured on Thew’s upcoming second EP, which follows 2019’s Quiet Words.
NYC post-punk outfit Catcher have shared a comeback single entitled “Comparing Saviors and Friends,” off their upcoming debut album, due out in 2022. The single is regarded as one of the first tracks they’d written with the genesis of the band, and comes alongside a DIY music video.
Photo by Kevin Allen
Catcher is a Brooklyn-based post-punk band with a reputation for visceral and powerful live performances. Drawing comparisons to Iceage and Protomartyr, Catcher deliver music with a driving and inundating low-end, provided by childhood friends Cameron McRae and Wilson Chestney, on bass and drums respectively. Guitarists Jack Young and Christian Reech, each having been recruited earlier this year via a Craigslist ad and connection via the band’s shared Tinder, interweave melodies and noise to create an environment that manages to be at once both bleak and moving, desolate but hopeful, violent but tender.
Vocalist Austin Eichler commands listeners with a domineering and chaotic presence. From drawling croons to powerful screams, Austin’s narrative lyrics invoke a wide spectrum of emotion while creating a world of their own. Through endless hours of practice and work, the band has crafted a gripping and tight live performance and a growing international fanbase.
With a sludgy bass and frenetic guitar chords, “Comparing Saviors and Friends” charges forward like an angry bull out the gate, with a deep-seated drawl from vocalist Austin Eichler. The new single comes on the heels of the band’s first four singles: “Yesterday’s Favorite,” “The Skin,” “Only Advice,” and “Fallen Stones,” amid playing countless sold-out shows across New York City, as well as their first headlining tour across the U.S. with fellow NYC rockers Been Stellar.
Catch Catcher at Mercury Lounge on January 2, 2022 with Hello Mary. More information and tickets are available here.
Rees Shad and the Convo Combo and are returning to Caffe Lena on January 8th, 2021. Shad is no stranger to the Saratoga Springs club, in 1984 he did open mic nights there. The founder and namesake of Caffe Lena, Lena Spencer, is credited by Shad himself as being the foundation to the start of his career.
Manhattan native Rees Shad has a discography of over 30 albums. He worked for many years as a sideman and studio musician before releasing things of his own. His newest record One Glass at a Time will be performed at the show.
The Convo Combo features drummer Bobby Kay and bassist Jeff Link, who both come together to aid Shad to create a performance akin to that of live jazz, with their twist, providing classy ambiance to any nightclub.
Speaking of the new album, Shad is incredibly proud of the jazz-influenced record.
Taken incrementally, the stories from One Glass at a Time are crafted to resonate and intensify as the lyrics and melodies sink in. This might or might not be an overarching story…the listener might suspect it. The process should be interactive. I’m hoping to help lay the crumbs that they will want to follow…striving to light up listeners’ imaginations.
Rees Shad
Many critics have praised Shad and his music, the Boston Herald saying, “As loamy as 10 yards of Midwestern topsoil and his complex is a nest of small-town relationships … Unexpectedly literate & moving.” The Dallas Observer also had quite a bit to tell, “Unfair to describe this work in terms of another – it’s that personal, that complete, and that well done.”
https://www.youtube.com/watch?v=Fkr34GEuWZM
Rees Shad and the Convo Combo play a song.
Tickets to see Rees Shad and his Convo Combo live at Caffe Lena can be found here, with proof of vaccination required.
With the adage “When life hands you lemons, make lemonade” in mind, Phish will perform three full sets this New Year’s Eve, live from the Ninth Cube. Phish will take the stage promptly at 8:30PM ET on December 31st for a show that will be performed without an audience and webcast for free on Phish’s YouTube channel and LivePhish.com, with a simulcast on Phish Radio on SiriusXM.
For the dinner part of this Dinner And A Movie, four recipes are included, all with lemon as a key ingredient. Instead of sucking on a lemon, dive into the recipes below, which include Trey Anastasio’s own recipe for Lemonade, a Whole Roasted Chicken with Lemon, a Lemon Pasta vegetarian entrée, and for dessert, Lemon Bars.
Always a charitable affair, the Dinner and a Movie series has distributed nearly $900,000 in donations via the WaterWheel Foundation since the start of the pandemic to help non-profits around the country (and beyond). SiriusXM has generously underwritten production costs to make this webcast free, and donations will be raised during the evening to support those in need. The WaterWheel Foundation will be raising money for a handful of non-profits close to the Phish community. Donate at anytime at phish.com/waterwheel.
There will also be three limited edition posters available from the originally slated shows for the Madison Square Garden run for sale beginning Thursday, December 30 via Phish Dry Goods, along with additional event merch. Proceeds from these poster sales will be donated to The WaterWheel Foundation and more details will be shared soon via Dry Goods.
Shortly after New Year’s Eve, video of this performance will be available on the SXM app.
Giant Bowl of Lemonade
1. Get handed lemons 2. Make lemonade 2b. For “electric lemonade”, add desired ingredients 3. Enjoy!
Whole Roasted Lemon and Herb Chicken – Serves 4
Ingredients: 2 lemons 1 bulb of garlic 2 yellow onions ¼ cup extra-virgin olive oil 1 whole chicken (3.5-4 lbs) ½ tsp minced fresh rosemary (plus an extra sprig or two)* ½ tsp minced fresh thyme (plus an extra sprig or two)* ⅓ cup chicken stock 2-3 whole carrots 2-3 potatoes (preferably Yukon Gold) Kosher salt Fresh ground black pepper *You can use dry herbs in replace of fresh, or omit if you prefer things simple.
Instructions: Take chicken out of the refrigerator. Remove giblets if there are any in the cavity (we won’t be using them, but you can cook for your dog!). Rinse the chicken in water, and pat thoroughly dry. Leave out while you prepare the lemon-herby goodness to bring the chicken close to room temperature.
Preheat the oven to 425 degrees with the rack in the lower third of the oven. Set out a roasting pan or large cast iron skillet that can hold your whole chicken.
Mince 3 garlic cloves, and mix with the herbs and 3 TBSP of olive oil and 2 hearty pinches of salt. Make sure the chicken skin is well dried. Push one finger under the skin on the breast of the chicken to separate, and spoon half of the herb mixture in between the meat and the skin. Rub the remainder on the outside of the chicken. Season the outside generously with additional salt and pepper. (Using chicken breasts instead of a whole chicken? Do the same thing, but they will take less time to cook).
Cut the rest of the bulb of garlic in half horizontally (so each clove is cut in half), and rub with olive oil. Slice the whole lemons in half. Peel the onions and cut into quarters. Put half a lemon inside the chicken, then put the other lemon halves, onion, garlic and remaining herb sprigs in the bottom of the roasting pan, and put the whole chicken on top (either on a rack, or sitting on top of the lemon, onion and garlic). Cut carrots and potatoes into large bite sized chunks. Toss with a little olive oil and scatter around the chicken. Pour chicken stock into the bottom of the pan.
Roast for approximately 45 minutes. The skin should be golden brown and the juices should run clear when you poke a knife into the leg joint. If the juices are rosy pink, roast for another 5-10 minutes and check again. Or, if you have a meat thermometer, when the inner thigh registered 175 degrees.
Remove from the oven and let rest for 10-15 minutes. Tip the chicken to drain any juices from the cavity into the pan. Carve chicken on a cutting board and transfer to a platter. Then pour all the juices, roasted vegetables and tasty bits over the chicken or serve the jus alongside for those who want it. Squeeze the roasted garlic from the bulbs over the vegetables, or just serve the halved bulbs on the side of the platter.
Lemon Pasta Serves 6
Ingredients: 12 ounces wide egg noodles Juice and zest of 2 small/medium lemons (wash lemons before squeezing) 1 cup heavy cream Kosher salt, to taste Lots of freshly ground black pepper.
1. Bring a large pot of salted water to a boil. Add noodles, and stir to separate. Cook according to package or until tender. Drain, then return to the cooking pot.
2. Just before noodles are done, in a small saucepan combine the lemon zest, cream, salt and pepper. Cook over medium heat for 2 minutes, or until cream comes to a boil.
3. Pour cream mixture over drained noodles, and add the lemon juice. Stir to coat. Cook over medium heat, stirring, until all the liquid is absorbed, about 1 to 2 minutes. Season with additional pepper, if desired.
Note: the pasta is delicious on its own, but feel free to add green vegetables to the pasta at the end if you like: a handful of baby arugula, broccoli or broccolini – chopped and doused with olive oil and roasted at 400 degrees for 15 minutes, steamed or sautéed asparagus, chopped parsley, chives, etc.
Optional variation: if you’d like, add freshly grated parmesan.
Lemon Bars
Makes 16-20 squares in an 8×8 or 9×13 baking dish for squares, rectangles or triangles (or 9” pie pan or tart pan for wedges).
Ingredients: Crust: 1 cup cold unsalted butter 2 cups all purpose flour ¼ cup powdered sugar (plus more for sprinkling on top at the end) ½ cup sweetened, shredded coconut (or unsweetened coconut, plus add ¼ cup more sugar) 1 tsp vanilla Pinch of salt
Filling: 5 eggs 1 tablespoon finely grated lemon zest (from 2-3 washed lemons) ½ cup freshly squeezed lemon juice (hint: zest lemons first, then squeeze them) 1 ½ cups granulated sugar ⅓ cup all-purpose flour 1 teaspoon baking powder Pinch of salt
Instructions: Preheat oven to 350 degrees. Butter an 8×8 (for thicker squares) or 9×13 (for thinner squares) baking pan. To make them easier to remove, lay a piece of parchment paper inside the pan, and then butter the parchment paper too.
In a food processor (or stand mixer) combine all of the crust ingredients. Pulse and mix until well combined and the mixture begins to clump together. Put the dough into the buttered pan and gently press it to cover the bottom. (If using a tart or pie pan, push dough to cover the sides too.)
Bake the crust until just golden brown, about 20 minutes. Remove from the oven but leave it on.
While the crust is baking, prepare the lemon filling. Add all ingredients to a mixing bowl and beat on low or whisk until smooth. Pour the filling into the hot crust and bake again until the filling is just set, about 20-35 minutes. Check them at 15 minutes.
When you shake the pan slightly, the filling should be mostly set, but still quiver in the center a bit. If not set, bake a few minutes more. (If using a 8×8 pan with a thicker layer of filling it may take longer). Do not over bake.
Let cool completely in the pan. You may refrigerate to help them set and cook quicker. Sprinkle the top with powdered sugar, then cut into squares or triangles. Keep refrigerated until ready to serve. If powdered sugar has been absorbed into the lemon filling, dust again with more powdered sugar just before serving.
Amid cancellations and postponements, David Byrne has announced he will put on a special run of “American Utopia” shows back at the St. James Theatre on Broadway from Dec 28-30, 2021 and Jan 1-2, 2022.
Making this decision was not a light one, but comes after several company members of the Tony Award-winning Broadway show tested positive for COVID-19. Byrne announcing there would be a few changes as a result of this, but the good news is the inclusion of new “Unchained” versions of songs from the show.
Fortunately, the vaccinated band members and crew who have tested positive don’t have severe symptoms and are staying home following the CDC guidelines. Unfortunately, they can’t come to the theatre for the next week or so, which means we’ve chosen to make some creative changes to enable us to put on a show.
David Byrne
Performances of American Utopia will feature songs from the Talking Heads as well as some of the solo catalog of David Byrne and will be supplemented by songs already in the show that cannot be performed without the missing company members. Byrne continued, saying “I know it’s going to be a ‘Once in a Lifetime’ experience, that will only be seen for a few performances. We are ready to have a good time!” wrote Byrne.
Tickets for American Utopia are on sale through April 3, 2022 here. Read more on American Utopia here, with the schedule for the special run of shows is as follows:
Tuesday, December 28, 2021 at 8PM
Wednesday, December 29, 2021 at 8PM
Thursday, December 30, 2021 at 5PM and 9PM
Saturday, January 1, 2022 at 5PM
Sunday, January 2, 2022 at 3PM
For information on what’s playing every day on Broadway, visit bwaytoday.com.
Doc’s Restaurant has announced a New Year’s Eve dinner & comedy show in partnership with The Park Theater in Glens Falls on December 31, 2021. The event will include a 3-course prix fixe menu and performance by comedian Sean Donnelly.
Doc’s Restaurant is located in downtown Glens Falls and will be offering two fixed seatings in it’s dining room featuring a holiday à la carte menu at 5pm and 8pm only. For more information and to reserve your table, visit here or call 518-792-1150.
The New Year’s Eve Comedy Show will be featuring a ‘Comedy After Dark’ performance starring acclaimed comedian, Sean Donnelly. This event includes a champagne and cocktail hour, along with a 3-course prix fixe menu curated by executive chef, Matthew J. Delos. Tickets: $99.00 (includes tax, gratuity and complimentary champagne). Champagne & Cocktail Hour: 6pm. Dinner & Dessert: 7pm. Showtime: 8:15pm. For more information and to purchase tickets to New Year’s Eve Dinner & Comedy Show, visit here or call 518-792-1150.
Sean Donnelly
Doc’s Restaurant new COVID-19 Protocol went into effect 12/13/21, all Doc’s Restaurant patrons must wear a mask at all times regardless of vaccination status unless eating or drinking.
The Park Theater COVID-19 Protocol is dedicated to ensuring a safe and welcoming entertainment venue for all attendees and employees. The Park Theater is requiring proof of full vaccination upon arrival, and encouraging wearing masks indoors when not eating or drinking. Acceptable proof of vaccination include Excelsior Pass, Excelsior Pass Plus, SMART Health Cards issued outside of NYS, full-course vaccination through NYC COVID Safe app, a CDC Vaccination Card, or other Official immunization record.
For more information on Doc’s Restaurant’s New Year’s Eve Dinner & Comedy Show visit their website.
