Each Sunday evening from 7-9 p.m. you’ll find EQXposure on WEQX, featuring two hours of local music from up-and-coming artists. Tune into WEQX.com this Sunday night to hear holiday music from Doctor Baker, The Rough Shapes, and Watch Reggie Run.
WEQX has long been the preeminent independent station in the Capital Region of New York, broadcasting from Southern VT to an ever-expanding listening audience. NYS Music brings you a preview of artists to discover each week, just a taste of the talent waiting to be discovered by fans like you.
Doctor Baker – “Holiday Lights”
Consisting of Ed Schwarzschild (guitar, vocals), Iggy Calabria (guitar, vocals), Chris Gockley (bass), and Danny Goodwin (drums, percussion), Doctor Baker originally started as an acoustic duo before expanding. The complete band brings a strong sound to audiences within the Capitol Region and beyond. Their single “Holiday Lights” off of their album Trespassers will be played on EQXposure.
The Rough Shapes – “Last Christmas” cover
The Rough Shapes are an instrumental trio based in the mid-Hudson Valley. Their sound is shaped by their shared hometown of Saugerties. The group’s sound is underground electric guitar music – the darker side of rockabilly, surf, spy, early rock and roll, and the cinematic mood music of Morricone.
Watch Reggie Run – “Unwrap them all”
Watch Reggie Run is a father-son duo founded in 2017 by Dave and Luke Graham. They started performing as a way to connect with one another, as Luke has autism and his communication skills are limited. Their holiday song “Unwrap them all” will be played on EQXposure.
Broadway’s beloved Phantom of the Opera is delaying its closing show date after seeing a spike in sales, seeing capacities jumping to over 100 percent. The final performance date will now be April 16, 2023.
Ben Crawford as The Phantom on Jan. 26 in New York City.
The show is the longest-running show in Broadway history and will commemorate its 35 anniversary in January. Phantom has become a staple in Broadway history, however, due to the pandemic it has grossed a lot less money since the reopening of the theatre.
Producer Cameron Mackintosh said the show is delaying its closure due to a spike in sales sparked after the closing announcement. The Phantom of the Operahas grossed $1.78 million in the week ended Nov. 20, the most recent week of public grosses.
We are all thrilled that not only the show’s wonderful fans have been snapping up the remaining tickets, but also that a new, younger audience is equally eager to see this legendary production before it disappears. Such is the demand for tickets that we are delighted to announce that The Shubert Organization has been able to arrange a final eight-week extension of the run at The Majestic Theatre.
Cameron Mackintosh
Phantom is a symbol of 1980s Broadway, created by three of the most legendary figures in musical theater history: composer Andrew Lloyd Webber, director Hal Prince and producer Cameron Mackintosh. The show is about a mask-wearing opera singer who frequents the Paris Opera House and falls for a young soprano, famous for the phantom’s mask as well as the chandelier that crashes on stage every night. On Broadway, the show has been seen by 19.8 million people and has grossed $1.3 billion since opening.
The Phantom of the Opera‘s new final performance date will be on April 16, 2023. There will still be production in London, as well as a brand new one in Australia. The first Mandarin language production is set to open in China next year, and a Spanish-language version is in the works. Tickets to see the final United States showings are on sale here.
Charlie Parr walked onto the Arbor Loft stage, bundled up in a made-for-Minnesota-winters cardigan, minutes after opener Al Olender finished up her set. He sat down, settled in with his Mule resonator guitar and started to tune it. Or was he just playing?
The Rochester crowd milled about, conversing, getting a set break drink. Parr kept picking away, and it became more and more evident this was some mighty fine playing that deserves an attentive ear. And after a little while he leaned into the mic and started singing, “Can you remember what it’s like / When all the world’s filled with light / Now do you have that in your sight / Then spread it around, do.”
And Parr’s set started just like that, no welcome, no pretense, he just got right to it with “817 Oakland Avenue” off his excellent 2022 release Last of the Better Days Ahead. The crowd quickly quieted, the lights went down, and the show on Thursday, December 1st, had begun.
About 90 minutes later, after the peppy “Jubilee,” he flatly announced that was the end of his set, “Do you mind if I do the encore now?” With that he left the crowd with a stirring a capella rendition of the gospel, “Ain’t No Grave Gonna a Hold My Body Down.” He opened unceremoniously with a long guitar exploration and closed with just his voice. In between those bookends, the set was filled with the lush combination of his deft finger picking and rich voice.
Sometimes seeing an artist perform solo, even the great ones, you are left wondering what could be gained with a band or even just an accompanist. Not so with Charlie Parr. He sounded perfect all on his own. Through finger picks, slides, foot stomps and that ragged voice with unexpected range, there wasn’t empty space wanting for anything more. And modifications, like an “aggressive capo” on the mostly instrumental “Jaybird” got even more sound from that guitar.
“You know you’re at a folk show when a guy talks awkwardly while tuning his guitars.” Parr said, while tuning his guitar. He tuned quickly though, and like the way he opened his show, his tuning turned to playing without pause or hesitation. The show kept moving, with engaging upbeat songs, even if they were depressing in nature. He provided “palette cleansers” with some traditional folk blues tunes, like Brownie McGhee’s “Sportin’ Life” and Blind Willie McTell‘s “Delia,” the closest he was getting to playing a seasonal holiday song (not very close at all.) His original “On Stealing a Sailboat” referenced Arlo Guthrie in style, a romping spoken word story. No, there was no question or doubt about this being a folk show, or an Honest Folk show for that matter, the promoter closing out the year in grand fashion. We look forward to what’s in store for 2023.
The full house lent an attentive ear to opener Al Olender, a young singer-songwriter from the Hudson Valley making her third return trip through Rochester this year. She immediately connected with the crowd on catchy and clever “All I Do Is Watch TV,” finger picking and strumming her vintage electric guitar and emoting with her silky smooth vocals. Her friend Amanda Brooklyn came out to aid with sparse but well-placed harmonies. She cut through sad subject matter with engaging and humble humor, in her lyrics, with in-song jokes, and witty banter. She was admittedly nervous performing a cover of Roy Orbison’s “Blue Bayou,” (you wouldn’t have guessed it from her delivery) but had no hesitation baring all about her own experiences in a bad breakup on “Liar Liar.” Olender is a new voice to keep an eye out for.
Charlie Parr – Arbor Loft, Rochester – December 1, 2022
Setlist: 817 Oakland Avenue, Last of the Better Days Ahead, Everyday Opus, Sportin’ Life (Brownie McGhee), Don’t Send Your Child to War, Cheap Wine, 1922 Blues, Dog, Jaybird, Over the Red Cedar, On Stealing a Sailboat, Delia (Blind Willie McTell), Jubilee Encore: Ain’t No Grave Gonna Hold My Body Down
On Friday, December 9, Rough Trade NYC will host revered indie rock guitarist Lee Ranaldo. The free night presented as part of The Birdsong Project will feature Ranaldo in concert and in conversation with project founder Randall Poster.
Lee Ranaldo, (pictured) best known for his work as lead guitarist of NYC indie rock act Sonic Youth.
Friday night will also mark the release and celebration of the project’s culmination. “The Birdsong Project Box Set” is a birdsong-inspired collection of music consisting of over 242 tracks with appearances from musicians, actors, Pulitzer Prize winners and more such as Olivia Wilde, Sean Penn, Robert Pattinson, Greta Gerwig, Mark Ronson, Nick Cave, Elvis Costello, Ad-Rock, Bette Midler, Danielle Haim, Florence Welch, as well as hundreds of other contributors.
All proceeds from the collection go towards The National Audubon Society, a non-profit dedicated to bird conservation.
Recent projects of Randall Poster (pictured) include music curation on the French Dispatch (2021) and the Queen’s Gambit. (2020)
Poster, a film soundtrack supervisor who has worked with Martin Scorcese and Wes Anderson, spawned the idea for The Birdsong Project after quarantining during the first year of the pandemic. Having been inspired by the “stillness of nature,” he gained a curiosity for birdsong and bird life.
Ranaldo’s Birdsong Project concert is set to begin at 8:30 p.m. while his conversation with Poster as well as David Ringer, the Chief Network Officer of the Audobon Society, is marked for 9. Doors open at 8 p.m.
Brooklyn Americana artist Ryan Luce has just released his newest illuminating record titled “Country House.” Ryan Luce explores the subtle nuance of everyday life and studies the inner dramas of fathers, sons, and daughters.
This Americana record was written throughout the pandemic where Ryan found love, lost his backing back, and honed his songwriting abilities. “I had to get back to writing, to what I know is the only thing I’m good at. Those songs became Country House,” stated Luce.
“Offers a blend of country-western Americana and Pacific Rock à la Tom Petty & The Heartbreakers to paint energetic narratives with lasting visual effect.”
-Rhythm & Boots NYC
Country House is a ten-song collection filled with heartbreaking lyrics and timeless melodies; Luce certainly pulled from classic country to modern day Americana throughout these releases.
“Before the pandemic I was pigeonholing myself in the themes I wrote about. I think I used songwriting as a projection on my own feelings of longing and escape and that limited my abilities,” says Luce. “Writing these songs allowed me to throw away the old ghosts and achieve a caliber of songwriting and production I’d been searching for.”
Unlike Luce’s 2019 debut EP California Gold, a loose collection of songs from hustling the New York scene, Country House is rather an artifact from his life frozen in time. “I always dreamed of making a record where the songs are from a distinct period, as a time capsule, I could dig up in 20 years and look back on someday.”
The world had taken a toll throughout the time of the pandemic, but lots of musicians found a muse throughout being stuck inside. “I think a collective forcefield was blocking artists from creating during the early days of the pandemic including myself.” His band had scattered to the wind as the pandemic began and now, stuck in his apartment, recording plans scrapped, he fought off Covid.
The album came together out of the motivation that Luce hadn’t written anything in months. “Something switched on, I had to get back on the horse and start writing songs again. I started playing in different keys and the first song I wrote was the title track.”
Listen to more of Country House and to check out more of Ryan Luce, click here.
Westside Gunn the self-pronounced FlyGod continues to impress with his curation of albums and music videos.
“Peppas” is the latest video off of Westside Gunn’s new album, 10 and features legendary hip hop duo, Black Star. Getting the seldom featured duo of Yaiin Bey and Talib Kweli on a track is a major coup for Westside. The legendary Brooklyn rhymers have made sure to not oversaturate their sound, going over two decades in-between albums. For the “Peppas” video, Westside bridges the gap between the “hood” and the glamors of the hip hop world. The visual of legendary hip hop figures returning to where it all began, just kicking it on the block adds a down-to-earth feel to the abstract sounding record. A juxtaposition that leans on the fact that most rappers earn their stripes in these communities, thus it’s all one big cycle.
Visual Breakdown
The record’s title itself is the name of a popular Jamaican restaurant in Bedford-Stuyvesant, one of Brooklyn’s more renowned neighborhoods. The Conducter Williams produced track features the typical ear catching soul samples that fans have come to expect from a Westside project. Additionally, Kweli, Bey, and their abstract and philosophical rhymes serve as the perfect foil to Westside Gunn’s in your face style.
Furthermore, each rapper’s verse conveys a similar message in their own way: their view of the world while subsequently letting you know how great they are. Concurrently, they gather with their homies on the block, enjoying the food and mingling with the restaurant staff. The entire record and video plays on the theme of the varying personalities and minds in the hood. Although a group of black males hanging around the block may be stylized as one, there are various personalities, ideologies and general life ethos at play within that group dynamic.
Best Lyrics
Matte-black dynamite, blast radials, black radio Core capability, flaco facility Fly guy, do or die, Bed-Stuy energy
Claimin’ La Costra Nostra, we in love with the coca They hit niggas with the R.I.C.O., white people put it in cola For generational wealth, they standin’ on they ancestor’s shoulders After burnin’ down Tulsa, Oklahoma
NYC’s Mortal Prophets have released five singles ahead of their album, Me and The Devil, which is set for release on December 9. The songs – all covers – teeter between Leonard Cohen and Nick Cave, and bring something completely new to the table.
“Pretty Girl In The Pines” is an adaptation of the folk classic by Lead Belly and a famous performance of “Where Did You Sleep Last Night,” was covered during Nirvana’s MTV Unplugged concert. In the Mortal Prophet’s version, it starts as an eerier version of Lead Belly’s, but drops into German electronica house, then introduces searing electric guitar. This amalgamation of genre electrifies, aptly, some of the oldest songs in our American folk canon.
The stirring bluesy sound in these singles feels alive, because it is. In making this debut EP, Mortal Prophets’ lead John Beckmann sent his rough tracks to William Declan Lucey, an Irish producer and multi-instrumentalist and member of Rubyhorse. Beckmann entrusted Lucey with the task of adding or subtracting tracks from Beckmann’s raw files to the album, and this collaboration between the two artists led to some of the more surprising and exciting moments — Dana Colley’s saxophone on “Baby Please Don’t Go,” for one, gives the song transformative capacity.
There’s anger that’s jutting out behind gritted teeth in “Grinning In Your Face.” Beckmann gets to the core of the legendary Son House original. “It’s really a song of betrayal, and back stabbing, yet the musician rises above it all, and laughs in their faces, and continues his life undeterred. I think we can all relate to that on some level,” Beckmann said about his cover.
“Crossroad Blues” feels most like a Nick Cave song, gothic and earnest. Music writers say things like, “John Beckmann’s vocals shine on this record,” but Beckmann’s voice doesn’t “shine.” It’s totally matte, deep and dark, but with low opacity, like he’s singing through fangs bared — a voice that can be brutal, ravenous, in “Grinning In Your Face,” but here it is ultimately deeply mournful, loathing, that masculine kind of somber, you know, blue.
Two fan favorite festive orchestral performances arrive in the Capital Region in the coming weeks. The Albany Symphony Orchestra (ASO) appearing at Albany’s Palace Theatre for the The Magic of Christmas series on Sunday, December 4th and at Troy Savings Bank Music Hall for the Holiday Classics on Saturday, December 10 and Sunday, December 11.
Albany Symphony Orchestra
Groups of young, talented performers are being featured in the musical performance at the Palace Theater on Sunday, December 4, including The Music Studio and Capital District Youth Chorale, as well as the Boland School Dance, Ghanaian drumming group Gballoi and special guest narrator Walter Throne of the Albany Business Review.
Capital District Youth Chorale Featured in Magic of Christmas Poster
GRAMMY Award-winning Albany Symphony Orchestra conductor David Alan Miller is leading the orchestra in both concert series, which includes directing classical musical pieces by J.S. Bach, W.A. Mozart, and Coleridge-Taylor Perkinson included in Holiday Classics. “It’s always such a treat for us to present beautiful Baroque and Classical music in the glorious Troy Savings Bank Music Hall during the holiday season,” said David Alan Miller.
Albany Symphony Orchestra David Alan Miller
Mr. Miller went in further depth about his experience leading the ASO during the holiday season and music highlighted in prior and upcoming performance.
Heather Occhino: The Magic of Christmas and Holiday Classic show events are premiering at Albany’s Palace Theater and Troy Savings Bank. How long have you been the director of the Albany Symphony Orchestra?
David Alan Miller: 31 years
HO: Music by Mozart and Bach are going to be included in Holiday Classics. Do you think sharing classics, such as Mozart’s Symphony No. 39, on stage affects the audience size for each year Holiday Classics is premiered?
DAM: Yes, there are different pieces we play at different times of year. People love Baroque and Classical music, we tend to play them during the month of December. Hearing these pieces is a wonderful treat. The shows on the weekend of 12/10 includes music by Black American multi-genre music composer, Coleridge Taylor Perkinson.
HO: Is Holiday Classics the first performance where musicians belonging to your ensemble are highlighting historically known performances part of the concert series?
DAM: No, we feature musicians during every season.
HO: Do other musical troupes other than the Albany Symphony Orchestra typically join shows you direct?
DAM: Yes, particularly in Magic of Christmas; 8-9 groups are joining this performance-an African drumming group, a children’s chorus, which are important particularly for Holiday programs. Young opera singers from Bard College are joining on the shows Dec. 10-11.
HO: A special appearance by Santa is featured in the Magic of Christmas. What do you think this will mean for the children of your audience?
DAM: We want to make it as much fun as possible for kids. We pick kids’ names out of a hat and conduct “Jingle Bells” on stage and do big sing alongs with the whole audience-we want to make the performance as engaging as possible.
Buy Magic of Christmas and Holiday Classic tickets here.
Watch Albany Symphony Orchestra Perform at AHA! A House for Arts
In the middle of a 38-date tour of smaller venues across North America that kicked off November 3 in Fresno, California, thrash metal titans Machine Head played an intimate show to a raucous Saint Vitus audience in Brooklyn on Tuesday, November 29. A live extension of the band’s “Electric Happy Hour” online shows, which were streamed remotely throughout the COVID-19 pandemic, the first half of the tour has seen their diehard legion of fans thrilled by a free-form style set filled with deep cuts.
Nestled in its Greenpoint neighborhood, Saint Vitus opened in 2011 and has been known as the premier heavy metal hang spot ever since. On this weekday night, the bar would be taken over by the quartet hailing from Oakland, California who are touring in support of their tenth studio album Of Kingdom and Crown. A 13-track concept album that follows the stories of two main characters, Ares and Eros, was released via Nuclear Blast/Imperium Recordings this past August.
Arriving to the venue for my first time, I knew I was in the right place (despite the venue displaying no street signage as to its existence) when I spotted the band’s tractor trailer rig parked out front and a contingent of lucky VIP fans who were already making their way into the venue for soundcheck. The remaining fans, including myself, chatted and shivered together on the frigid evening as the general admission line steadily grew until it wrapped around the street corner.
At approximately 7:00 pm, security returned to escort us into the warm confines of the 250-capacity concert hall. After my media credential was confirmed by the stamped application of the bar’s skull logo to my right hand, I walked through the bar area and headed straight for the coveted rail position. With no area designated for pit photographers, I was glad to be as close as possible to the metal action that would unfold before our collective eyes in a little more than an hour.
Without any opening support and Ozzy Osbourne’s “Diary of a Madman” playing over the house PA, the stage lights suddenly dimmed and the chants from the fans began . . . “Machine-Fucking-Head,” “Machine-Fucking-Head,” “Machine-Fucking-Head,” “Machine-Fucking-Head.” For the next 2 hours and 15 minutes, Robb Flynn (vocals/guitar), the only remaining original member, Jared MacEachern (bass), Wacław Kiełtyka (lead guitar) and Matt Alston (drums) would deliver a heart-pounding, 21-song set that fully displayed the hard-hitting musicianship that made Machine Head one of America’s pioneering influences in new wave heavy metal.
Performing a set that included at least one song from each of their studio albums – spanning the course of nearly three decades – the San Francisco Bay Area metallers’ first offering was “Imperium,” from Through the Ashes of Empires (2003). With Flynn urging the crowd to “open up that circle pit,” he took us back to 1997 with the speed metal single “Ten Ton Hammer” (The More Things Change…). Reverting to their thrash metal roots, we lost our collective mind during “CHØKE ØN THE ASHES ØF YØUR HATE,” taken from the aforementioned Of Kingdom and Crown and the first of three offerings that would be performed tonight from that 2022 release. The next trio of songs comprised two tracks from 2014’s Bloodstone & Diamonds (“Now We Die” and “Killers & Kings”), followed by “The Blood, the Sweat, the Tears” (The Burning Red, 1999). The night’s second contribution from Of Kingdom and Crown ensued, “UNHALLØWED,” an anthemic tune featuring dual-lead guitar lines and Flynn’s melodic vocals.
With Machine Head’s set approaching the one hour mark and his plastic cup of Guinness running low, Flynn summoned crew member Junior to the stage to remedy the problem. After a quick refill of the Irish-made suds and another toast to the fans for coming out and their support, a special guest appearance was made by Joey Zampella (better known as Joey Z), guitarist for the Brooklyn alternative metal band Life of Agony that Joey Z co-formed in 1989. Taking over axe duties for Kiełtyka, the first of three cover songs followed, Life of Agony’s “This Time.”
Over the next thirty minutes, Machine Head gave us “Old” (Burn My Eyes, 1994), “I Am Hell (Sonata in C#)” (Unto the Locust, 2011) and “Aesthetics of Hate” (The Blackening, 2007), with Flynn again urging his fans to form another circle pit that nearly engulfed the entire room. Following a brief pause in the action, Flynn reappeared, now armed with an acoustic guitar. Pulling his hair back and wiping the sweat from his eyes, Flynn addressed the steamy room of sweaty bodies:
The song that we’re going to do for you here is about mental health. It’s about religion. It’s about music, and it’s about depression. And, you know, for me, I wrote this song when I was in a pretty dark place in my life. I wasn’t raised with religion. I never prayed to a God upstairs to help me when times went tough. No, the thing that I always, always turned to throughout my life was music. It could be Black Sabbath or Pink Floyd or Metallica or Slayer or Hatebreed or Life of Agony. [There were] a million fucking bands [with] the power to reach down and pull me up out of that hole. It was never my music. It was someone else’s.
So, I tell you what. If you relate to the words that I’m talking about, I want you to feel free to sing them as loud, loud as you want to. Be louder than me if you want to. I don’t care Brooklyn, you’re in a Machine Head show, New York. You can do whatever the fuck you want. Get your flashlights way, way, way up in the sky [and] turn the lights on for all of you who have a little bit of darkness inside you. This song is called “Darkness Within.”
In accordance with the show’s career-spanning theme, a foursome of songs followed, comprised of “Catharsis” (2018’s self-titled track), “Bulldozer” (Supercharger, 2001), “From This Day” (The Burning Red, 1999) and “Davidian,” a pulverizing, groove metal number from their 1994 debut album (Burn My Eyes) about the Waco, Texas siege the year prior. Following a brief moment offstage to collect their breaths for the final push, Machine Head performed two back-to-back covers as part of their encore. The first, Alice in Chains’ “Man in the Box,” was spontaneously played in response to a request from the crowd. A blistering rendition of “Roots Bloody Roots,” released by Brazilian metalists Sepultura in 1996, was performed next.
The epic night of heavy metal ended with “Halo,” a second track played from 2007’s The Blackening, with Flynn addressing us for a final time: Brooklyn, New York, we love you fucking maniacs. You were absolutely incredible. Thank you for making us feel so good. We are Machine-Fucking-Head, good night! Before leaving the stage for the final time, all four Machine Head members took a long, gracious bow before Alston handed his sticks to a pair of blissfully stunned fans and handfuls of picks were handed out by Flynn, MacEachern and Kiełtyka. The metal festivities officially concluded with the exclusive Machine Head t-shirt award to the most worthy fan who raged the hardest, a young man I personally witnessed headbanging in the front row all night long, while screaming every lyric in unison with Flynn.
Machine Head will continue their string of U.S. tour dates until the tour finale at Ace of Spades in Sacramento on December 23. Additionally, on the heels of a recently postponed show in Portland, Maine due to “transportation issues,” that show has already been rescheduled for April 2023.
Machine Head Setlist: Imperium > Ten Ton Hammer > CHØKE ØN THE ASHES ØF YØUR HATE > Now We Die > Killers & Kings > The Blood, the Sweat, the Tears > UNHALLØWED > Locust > NØ GØDS, NØ MASTERS > This Time (Life of Agony cover) > Old > I Am Hell (Sonata in C#) > Aesthetics of Hate > Darkness Within > Catharsis > Bulldozer > From This Day > Davidian > Encore: Man in the Box (Alice in Chains cover) > Roots Bloody Roots (Sepultura cover) > Halo
In the Cortland Repertory Theatre’s 2022 season, only two performances were able to be completed, due to unfortunately timed cases of COVID-19 within the theatre’s cast and crew. The scheduled play, Agatha Christie’s “Murder On The Orient Express” was never executed.
Luckily, Artistic Director Kerby Thompson said the set, props and costumes from were stored over the winter, so the Cortland Repertory summer season, celebrating the organization’s 51st anniversary, will kick off at the Little York Pavilion in Preble, NY on June 7, with Christie’s chilly murder mystery.
The 2023 season will contain three plays and two musicals: the Agatha Christie, Tony-nominated “Xanadu “by Douglas Carter Beane, “Unnecessary Farce” by Paul Slade Smith, “The Cake” by Bekah Brunstetter and wrapping up the season, “The Wizard of Oz.”
“Xanadu” will be showing from June 21 to June 30. This performance is based on the 1980 cult classic, with music and lyrics by Jeff Lyne and John Farrar. For fans of 80s pop, look no further — “Xanadu” features renditions of iconic hits from the period like “Strange Magic,” and “Evil Woman,” between hilarious story lines of forbidden love and greek gods on Venice Beach, California.
“Unnecessary Farce” centers on an embezzling mayor, his accountant, undercover police and a Scottish hitman. It’s one of Cortland Repertory Theatre’s most popular comedies, planned to show in this 2023 season between July 5 and 15.
“The Cake” was originally planned for the theatre’s 2020 season, but had to be canceled because of the pandemic. This comedy centers on a woman living in North Carolina who is cast onto an Americanized “Great British Baking Show,” but her life is complicated while she bakes a wedding cake for her late best friend’s daughter’s wedding. It will be playing July 19 and July 28.
Finally, closing the season, is Cortland Repertory Theatre’s original telling of “The Wizard of Oz.” This stage version, premiering August 2 to August 19, was adapted by John Kane for the Royal Shakespeare Company and is based upon the classic movie.
Cortland Repertory Theatre is now selling 5-show summer subscriptions along with 5 or 6 pack Flex Passes. The 5-show subscription allows the patron to see all 5 productions; the Flex Passes allow the purchaser to choose the shows they see. Special pricing is available for youth, seniors, military and first responders. Get tickets at their site.
