FilmColumbia will return for its 23rd year to the Crandell Theatre in Chatham, NY for a selection of this year’s top features, documentaries, and short films. The event will feature many Columbia County-based filmmakers, live Q+As, and the annual FilmColumbia Kick-Off Party.
The festival will feature widely anticipated films such as Hayao Miyazaki and Studio Ghibli’s animated masterpiece, The Boy and the Heron, as well as director Andrew Haigh’s All of Us Strangers, a ghost story starring Claire Foy, Andrew Scott, and Paul Mescal.
New York native Scott Cohen (Gilmore Girls, Billions) will star in the breakout comedy The Feeling That The Time For Doing Something Has Passed. The debut feature from writer, director, and star Joanna Arnow will be screened alongside a Q+A from Arnow and Cohen on Friday, October 27.
We tried to show as much good local talent this year as possible. We recognize their strength in our community and celebrate the abundance of talent in our region—proving how essential it is to keep our historic single-screen cinema open and refreshed so they may continue to show their works in a place that is welcoming, and well, ideal.
Co-Artistic Director Laurence Kardish
Staten Island’s own Joan Baez will be the subject of I Am A Noise, a documentary showing a glimpse of Baez’s life and psyche during the 60s. Co-directed by Miri Navasky, Maeve O’Boyle, and Karen O’Connor, the film will screen at FilmColumbia on October 25, followed by a Q&A with fellow New Yorkers Navasky and O’Connor.
During FilmColumbia’s opening weekend, producers and founders of Killer Films, Christine Vachon and Pam Koffler, will be honored for their vast and pioneering bodies of work. As frequent collaborators with director Todd Haynes (May December, Carol), they have constituted a leading force in independent cinema for over 30 years. The festival will screen three Killer Films productions on October 21: Camp (2003) at 11 am, I Shot Andy Warhol (1996) at 1 pm, and May December, the latest from Haynes, at 3 pm. In addition, a Q+A with the producers will directly follow the last screening.
Christine Vachon, Killer Films
The FilmColumbia Kick-Off Party will take place on October 21 from 6-8pm, hosted at the Spencertown, NY home of Jack Shear, a Crandell Theatre benefactor. Vachon and Koffler will also be recognized and celebrated at the Kick-Off.
Kingston-based filmmaker Hanna Bass will join forces with Spaghetti Eastern Music, the solo project of guitarist Sal Cataldi, on “Fragments of Light,” her newest film, showcasing it at Avant-Garde-Arama Lands at Lace Mill in Kingston.
Avant-Garde-Arama Lands at Lace Mill is the latest edition of the popular festival of short performance artworks co-founded by Charles Dennis and musician/visual artist Jeffrey Isaac at the legendary East Village venue Performance Space 122 (P.S. 122) in 1980. In 2019 Dennis moved to Hurley, NY, and has since curated and produced three Avant-Garde-Arama events at Woodstock’s Mountain View Studio and The Lace Mill in Kingston. The event, which will include short works by nine artists in total, will take place October 20 and 21 at 6 p.m. at Lace Mill, a popular artists’ residence and performance space in Kingston.
“Fragments of Light” serves as a vivid chronicle of Bass’s cinematic journey, which took flight following her career as a professional ballerina, touring with the renowned American Ballet Theater. Her transition from the world of ballet to the realm of cinema has given birth to films that radiate a dreamlike quality, offering a contemporary reinterpretation of filmmakers such as Maya Deren, Barbara Hammer, and Shirley Clarke. Bass’s films are infused with the grace and artistry derived from her background as a dancer and choreographer. They dance between dimensions and radiate a captivating blend of authenticity and mysterious allure.
Hanna Bass.
Beyond her work as a filmmaker, Hanna Bass has cultivated a diverse portfolio as a cinematographer and creative director, crafting visual identities for a multitude of entities. Defined by herself as a multi-media creatrix, she explores the convergence of creative direction, choreography, film, and music.
Spaghetti Eastern Music is the genre-leaping solo project of Hudson Valley and NYC-based guitarist/keyboardist Sal Cataldi. Spaghetti Eastern Music combines acid jazz-fueled guitar instrumentals with ambient soundscapes and acoustic ballads straight out of the Nick Drake school. He debuted the project with the critically acclaimed 2016 album Sketches of Spam which has been followed with a number of EPs and singles.
The New York Times says Cataldi “has a beat unmistakably his own” while Time Out New York praises his “delicate guitar work and the hauntingly moody atmosphere he conjures.” He has been compared to Ravi Shankar and Sergio Leone, and his exploratory solo guitar score for the dance piece has been described as “cool, melodic, inspired and transcendent, a wave of sonic warmth and light” by Chronogram Magazine. Cataldi says this work is very much in line with what he is creating to accompany Bass’ film. “2x2x4” and his other music can be found on Spotify.
The October 20 – 21 event will present nine pieces including Dennis’s solo dance-talk work “Dreaming Out Loud,” Nancy Ostrovsky’s live painting with music by Meghan Gugliotta, a multimedia of dance, sound, and costumer by Lina Azalea Dahbour. Full details can be found at the Eventbrite link here.
It was now or never. I had not seen a show at The Chance, despite seeing shows in all parts of New York State, and somehow never made it a point to get there for a show. With the recent sale of the building and renovations slated to begin, The Chance’s final slate of shows in September and October meant that years of putting off traveling south to Poughkeepsie for a show had finally crept up to me, so a jaunt down I-87 was in order on a Saturday night, October 7, to see what this historic Hudson Valley venue held within its walls.
With a dive bar aura, cracking ceiling paint and a general ambiance best described as faded glory, The Chance feels like a time-forgotten Cohoes Music Hall, where a dedicated effort could put a shine across the venue and bring back patrons by the hundreds. Cohoes Music Hall, on the other hand, has the support of the city of Cohoes, a variety of acts and shows, active renovation efforts (in a building that is more than 30 years older than The Chance) and history on display from lobby to pit and all points in between. But the charm of The Chance, a 110 year old building that was originally designed for vaudeville, was present and the denseness of the room was palpable, with a light crowd spreading out on the lower level throughout the night.
One of the (likely) original sculptures in The Chance, overlooking the bar at Stage Left.
The Chance feels as if the history has been tucked away, with just a few stained glass windows, a painting or two, and a pair of sarcophagi flanking the stage off to the upper left and right. With the show tonight not sold out, the upstairs was not accessible, although I’m not sure what more could be seen from up above. The view from below did not leave a ton to the imagination – seating upstairs and room for folks to pack in downstairs amounts to a capacity of 900, but with only 200 or so patrons this evening, just the downstairs was rocking.
A view from the pit
On tap for this evening were a trio of tribute bands – Halen (Van Halen, obv.), Wicked Garden (Stone Temple Pilots, immediately piquing my interest) and Faceless (Godsmack). While I’ll always seek out original music before covers, tribute acts for three hard rocking bands from the last 40 years wasn’t a hard sell.
Growing on up in the 80s with equal parts Van Halen and Van Hagar on the radio, catching Halen – hailin’ from Connecticut – would be a rare chance to hear a non-jamband cover “Running with the Devil” and “Hot for Teacher.” And that was all we would catch from Halen this evening, arriving just past 8pm as they wound down their short opening set. Doors at 7pm and music starting on time at 730pm? Never would have expected that, but I would still seek out Halen again, with hope for some deep cuts next time, as well as the hits.
The stage curtain at The Chance Theatre
Having been a Stone Temple Pilots fan since Core, I was ready for a full barrage of STP classics, and Wicked Garden did not disappoint. In a scene where cover bands are plentiful, tribute acts like Wicked Garden stand out for their attention to musical detail and the ability to dive into a catalog with more than just a cursory look at the hits. The fans want those hits no doubt, but the deeper cuts, the tracks that slipped in between the radio play singles on the album, or buried on Side B, those are the money tunes to cash in on as a tribute band.
Matty Ayerz, the frontman (Scott Weiland) of Wicked Garden, had Weiland’s vocals down, his stage presence and microphone/bullhorn volume just perfect, as well as Weiland’s late career look – button down shirt, tie, jacket, with military-style cap – but saved the crowd from going full-Weiland and taking off his shirt. This evening Ayerz was dialed in, as were his bandmates, and while the bassist and guitarist were not brothers, this tribute band was otherwise as close to what you’d hope to get from an STP show, were Weiland still alive and on good terms with the DeLeo brothers.
Highlights of the set included the expected “Wicked Garden,” a refreshing revisit to “Interstate Love Song,” a tune whose excessive radio play in 1994 none could escape from, and “Lady Picture Show” – a tune I hadn’t heard in a decade or more, which settled in a little different this evening, with the vaudeville era theater giving off a glow, as if the song harkened back to the era of silent films of a century ago.
While the setlist below gives you an idea of what the band performs on stage, the actual setlist was a little more varied, slowly working through the band’s numerous hits, and ending with “Creep,” “Sex Type Thing,” “Plush” and “Dead and Bloated.” Looks, sound, energy and presence – Wicked Garden had it all this evening, and no doubt will be in the Hudson Valley again soon.
Faceless: a tribute to Godsmack, would be the final act of the evening, drawing in many fans to the previously vacant pit, prepared to rock out to the sound and live energy that Godsmack is known for.
Veteran musicians Tony, Chad, Rich and Bret crafted a phenomenal set, taking time to pay heed to the venue, recalling the memories made in the venue, bringing up Tommy Terezis (Soundquake, Body Level, Hallow Time, Them) to say kind words for the late Frank Pallet, who booked Terezis, Faceless, and hundreds of other bands in his tenure as owner of The Chance. Kudos were paid to Frank for his years of looking out for bands and booking them, giving them a shot in this intimate room.
With more playback than Wicked Garden, the build up into each Godsmack song took some time, as the band prepped for each tune, the vocals as spot on as you’d expect – close your eyes and you’re hearing Sully Erna – notably on “Voodoo” and “I Stand Alone.”
With only 10 total events (including School of Rock and karaoke, as well as a variety of bands), Hatebreed will be the final artist to perform on The Chance stage, for now. Catch them on Sunday, October 29, with doors opening at 4pm. More info can be found here.
Marco Benevento & Friends are standing up against the largest development in Woodstock history with The Trees Are Listening: Music for a Cause. The benefit concert for the Stop Woodstock National LLC Coalition is set to take place at Colony in Woodstock on Oct. 22 and feature Marco Benevento & Friends.
The Marco Benevento & Friends set will feature Simi Stone, Karina Rykman, Chris Corsico, Leslie Mendelson, Aaron Johnston (Brazilian Girls), Jeff Hill (Steve Earle), Bill Carbone (Max Creek) and Danny Blume.
According to JamBands, The Stop Woodstock National Coalition is a community-based group working with the Woodstock Land Conservancy, preparing to combat a plan proposed by Woodstock National LLC. The plan wants to wipe out 620+ acres of forest and wetlands—the largest forested tract along Sawkill Creek— and replace them with 191 housing units, a golf course, and a helipad.
“We have so many concerns,” said Andy Mossey, the director of the Woodstock Land Conservancy of the development that has been designated a “Critical Environmental Area” by the NYSDEC because of its importance to protecting “forest habitat, aquifer recharge zones, streams that feed into Sawkill Creek, wildlife habitats, and traffic.”
Marc Benevento photo by Seth Olenick.
Stop Woodstock National is putting the Town Board and agencies on notice with the stance that considering the negative environmental impact, the proposed project must be stopped. This project “has the potential to permanently change the Woodstock area, both in environmental quality and community character,” added Mossey. “It’s an utterly inappropriate project in the wrong location in the wrong community.”
Tickets for the Marco Benevento & Friends benefit show are on sale now.
The Zombies, one of the most celebrated bands of the early ‘60s British Invasion and pioneers of the later “orch pop” movement, came to Woodstock to showcase Hung Up On A Dream, an entertaining new documentary about their star-crossed career and ultimate critical resurrection directed by Robert Schwartzman.
The Zombies’ Rod Argent and Colin Blunstone at the Woodstock Film Festival premiere new documentary, Hung Up On A Dream, at the Bearsville Theater.
One of the highlights of the always star-studded 24th annual Woodstock Film Festival, the event took place before a sell-out crowd at the recently renovated Bearsville Theater. Rod Argent, the band’s visionary keyboardist founder and principle songwriter, was joined by the still choir-boy voiced Colin Blunstone for a post-screening Q&A and a rousing five-song duet performance.
Though The Zombies reached the top of the charts in 1964 with their debut single “She’s Not There” and a strong follow-up in 1965, “Tell Her No,” theirs is a story of old school showbiz mismanagement/exploitation followed, years later, by a critical reassessment and successful reunion. Earning countless millions via aggressive touring and recording at the start of their careers, the barely out of their teens bandmembers would each be forced to survive on a paltry 10 British pounds a week. That was until they recorded and broke up before the release of their 1968 psych/pop masterwork, Odessey and Oracle. By the time its single, “Time of the Season,” topped the charts, the band was well over and done with. And three decades would pass before they would make their triumphant return.
The documentary begins with a rapid-fire mélange of YouTube videos where new generations of music lovers wax poetic about their love of The Zombies, and especially their orch pop motherlode, Odessey and Oracle.
Thankfully, this documentary has none of the forced drama and cliched stupidity (drug ODs/inter-band incest/ songwriter royalty battles) popularized by VH-1’s “Behind the Music.” Perhaps that’s because The Zombies all seem like remarkably well-adjusted suburbanites with great senses of humor (especially the always hilarious Blunstone).
After the breakup, keyboardist Rod Argent would go on to immediate success with his surname titled band of “Hold Your Head Up” fame. Singer Blunstone would become an insurance agent and then emerge as a solo singer – first with a new name, Neil McArthur, before returning to his own for another classic disc, the orchestra-swaddled One Year, produced by Argent and the Zombies’ other great songwriter, bassist Chris White. Drummer Hugh Grundy and guitarist Paul Atkinson would go on to working in car sales and computers respectively before serving as beloved record company A&R executives responsible for kickstarting the careers of bands like ABBA, Queen and Bruce Hornsby. In the immediate aftermath of the success of “Time of the Season,” the rip-offs continued with two bands of “fake” Zombies touring the U.S., one even including two musicians who would later go on to found ZZ Top.
Filmicly, the documentary benefits from clips from the band’s many early appearances on television shows like Hullabaloo, American Bandstand and BBC’s Juke Boy Jury. The latter is where Beatle George Harrison dubbed their debut single “marvelous” and helped it race up the charts.
Schwartzman does a solid job of covering all the bases on the band’s rise, fall and rebirth. The latter begins to gather steam in the ‘80s and ‘90s as the band’s Odessey and Oracle becomes revered among hipster tastemakers like Beck, who would go on to cover their “Beechwood Park.” It reaches critical mass in 2008 when the band reunites for a 40th Anniversary concert recreating the album, which will be followed by several tours and their ultimate enshrinement in the Rock and Roll Hall of Fame in 2019. Tom Petty, Paul Weller, Post Malone, Haim, Harry Styles and Dave Grohl are all featured in the documentary sharing their love of the band, with Foo’s frontman calling Odessey his “favorite all-time album.”
Bearsville Theater owner Lizzie Vann with The Zombies’ Rod Argent and Colin Blunstone
Once again, there is a lot of humor as Argent, White, Grundy and Blunstone tell their story, with the lead singer getting the most laughs. Famously, Argent’s artist roommate Terry Quirk spelled “odyssey” wrong on the album cover painting, but the label was too cheap to re-press it. They were also too cost-conscious to let Blunstone do another take to fix a lyrical flub in “Tell Her No” or to provide money for a stereo mix of Odessey (Argent and White paid the $1,000 from their songwriting royalties). Emotions come to the fore as they recall their final performance with guitarist Paul Atkinson at a 2004 reunion. Suffering from terminal cancer, Atkinson would play with a morphine drip and pass three weeks after the show.
The film concludes with a duet performance of Blunstone’s “Caroline Goodbye” from his Argent/White produced album, One Year, with the obviously music-loving director Schwartzman on acoustic guitar.
Following the screening, Lizzie Vann, the British-born owner/architect of the recently revived Bearsville Theater, took to the stage to introduce Argent and Blunstone and joke about her earlier meeting with the jet-lagged duo over breakfast.
The Zombies’ Rod Argent and Colin Blunstone at the Woodstock Film Festival premiere new documentary, Hung Up On A Dream, at the Bearsville Theater.
Argent and Blunstone performed a rousing four-song set beginning with a super slowed down and extra bluesy “She’s Not There” and concluding with an extended version of “Time of the Season,” with Argent rolling out long legato solos like a rock-n-roll Art Tatum. The second tune, “You Could Be My Love,” is from their wonderful 2023 album, Different Game. In the film, Blunstone discusses his rigorous three-times daily practice regiment. It came to the fore here, as he is truly in better voice than ever, something remarkable for a man in his 70s.
Radio Woodstock’s amiable Justin Foy then took to the stage to conduct a Q&A. In it, the duo spoke of the importance of Elvis in their decision to live the life of musicians. “He was a creature from another universe and I vowed at my first listen that I would form a band like Elvis” said Argent. When asked how they felt about covers like Santana’s version of “She’s Not There,” Argent commented that he always felt his songs had an “understated Latin feel,” while Blunstone added: “It’s never been a problem for me, it’s a really compliment.” As for the tendency to remix and reissue classic albums by The Beatles and their own Odessey and Oracle, Argent added: “We’re not precious about it at all. Art is a work in progress. We’re always delighted when someone will spend their time to improve it.”
As for the best moment in their career, Blunstone said it was the 2019 Rock and Roll Hall of Fame event. “I didn’t know all the words but I got to jam ‘All The Young Dudes’ with Def Leppard, Brian May and Ian Hunter.”
Foy closed the evening by twisting another tune out of the sleepy duo, a spirited version of “This Will Be Our Year” from Odessey and Oracle. With a documentary like this hitting streaming platforms and theaters and their new album, this may be another big year for The Zombies.
On Friday, September 29, RBNX released Nothing Here Is Yours and their first release as signed artists with Patient Zero Records, where RBNX explore the hardships that humanity faces but often neglects to discuss.
The 10-track LP includes previously released singles, “Jah Is Dead” and “World To Burn” which premiered on In Effect Hardcore and Scene Point Blank. Nothing Here Is Yours serves as a musical testament to RBNX’s journey through life and its hardships. It bears the weight of loss and grief, themes that are very important to each member and their personal experiences. This album is not merely a collection of songs but a vivid portrayal of the band’s raw live energy and unwavering dedication to their craft.
“Nothing Here Is Yours represents the last 4 years of our lives and everything we’ve been through together. It truly marks a new chapter for us collectively and we couldn’t be prouder.”
Phil Bartsch, RBNX, (Drums)
For the last 10 years, RBNX’s unique blend of punk, hardcore, ska, and metal has helped the band establish themselves as relentless DIY pillars in the Northeast punk/hardcore community. Formed by lifelong friends Mike Dietz, Phil Bartsch, and Kyle Behnken, their highly anticipated second LP, Nothing Here Is Yours, was released via Patient Zero Records, building upon the band’s first LP, Surrounded By Sin.
RBNX recently hosted and performed at Boxfest on September 30, in the Catskills. For news and any upcoming performances, follow their Instagram.
An annual tradition, the Beacon Sloop Club’s Annual Pumpkin Festival will be held on Sunday, Oct. 15th, from 12-5pm at Pete and Toshi Seeger Riverfront Park in Beacon. Located on the Riverside of the Metro North Beacon Station), this rain or shine event is a fun, family friendly event along the shores of the Hudson River. Admission as always is free and the public is welcome to attend.
Featured at the Pumpkin Festival are Hudson Valley pumpkins of all sizes and shapes, fresh-baked pumpkin pie served with homemade whipped cream, hot pumpkin soup, hot and cold apple cider and many more culinary delights available for purchase.
With two solar powered music stages – including one dedicated for children – live music will be provided throughout the day from performers including Betty and the Baby Boomers, Lost Ryders of the Waywayonda, Lydia Adams Davis, Bindlestick Bill, Rick & Donna Nestler, Sarah Underhill and The Stockport Middleground, The Storycrafters, The Judith Tulloch Band, Sharleen Leahey and more.
Additionaly, numerous food and craft vendors will be on hand as well as environmental non-profits will feature displays of local Hudson River history and the environment including information about their organizations. The many free activities for children, in addition to the children’s stage, make this the perfect family event on the shores of the Hudson.
Pete and Toshi Seeger Riverfront Park, located on the majestic Hudson River, gives access to the Beacon Sloop Club’s boat, the Woody Guthrie, which will be taking guests on free sails from the Beacon Harbor, weather permitting. The public may sign up for an afternoon sail to relax and experience the beauty, power and grandeur of the Hudson. Sign ups start at noon at the Beacon Sloop Club table.
Earlier this year, the Beacon Sloop Club’s Corn Festival raised money for the public sailing program on the Woody Guthrie and other environmental education programs. The Sloop Club meets the first Friday of each month at the clubhouse in Beacon for a potluck dinner, business meeting and live music. The clubhouse is located on the banks of the Hudson River near the Metro-North train station, and all are always welcome.
Finger Lakes musician Jeremy Button of Americana band Growl Bear, has penned a few tunes as of late that celebrate two distinct regions of New York State, the Delaware Valley and the Finger Lakes.
Among them are the comedic tune, with a dash of regional pride, “Fingerlakes Wine,” and the history-infused “The Ballad of Orrin & Squire.”
Growing up in Wayland, NY, Button attended SUNY Fredonia, and currently works for NYSDOT. A guitarist and songwriter in Americana band Growl Bear, Button has learned a variety of instruments, among them fiddle, mandolin, bagpipes, and banjo as well as writing music for both Growl Bear and his solo performances.
Speaking of “Fingerlakes Wine,” Button says, “I just wanted my area to have a song like this. I love Rochester and the Fingerlakes area and I like writing songs about where I live, we don’t have a lot of them and we need more, creating lore, making us feel more in touch with this place we call home.”
Button’s tune “Fingerlakes Wine” comes in both a classy (above, for all ages) and original versions, while “The Ballad of Orrin & Squire” is ripped from the history books and lyrics mention various stops in the Southern Catskills.
Button’s Great-great Grandfather and his brother fought in the Civil War for the Union Army, part of the NY 56th Regiment of Volunteers, also known as the 10th Legion. A tune that comes right out of Button’s family tree, the song tells of their travels from small towns near the New York-Pennslyvania border to New York City before heading south to fight. Button says of the song’s historical accuracy, “95% true. Not many songs about NY regiments going to go kick butt.”
Another tune from Button, “Goodbye Fredonia,” the reluctance that he found in moving onto the next stage of his life, post-college.
You can catch Jeremy Button performing solo and with Growl Bear this fall around the Finger Lakes. Growl Bear plays at Lovin Cup, near Rochester Institute of Technology at 8:30 on Friday, October 6 and the trio version of Growl Bear plays at the B-side in Fairport on October 25. For more info visit the band’s website.
New York-based artist The Bones of J.R. Jones released a new single, “Animals,” the final single from his upcoming album Slow Lightning. The release comes alongside his upcoming tour, featuring a show at NYC’s Mercury Lounge and Woodstock’s Levon Helm Studios.
“Animals” is an upbeat, soulful folk track, supporting the musician’s upcoming record, Slow Lightning, slotted for release on October 13. That day will feature a hometown show at NYC’s Mercury Lounge for a special album release show, followed by a full US and European tour this fall.
The new track follow the release of the musician’s previous single, “The Good Life,” which dropped last month alongside an official music video featuring actress Maggie McDowell. In addition, the first promotional single, “Heaven Help Me,” debuted to great success, and has now garnered over 250,000 streams.
Known off-stage as Jonathan Linaberry, The Bones of J.R. Jones is a one-man band, songwriter, storyteller, and visual artist.
Animals’ is about letting yourself go and giving into another version of yourself. Going out, getting into trouble, letting whatever may happen, happen and finding out you’re happier that way.
Jonathan Linaberry, The Bones of J.R. Jones
Tickets for The Bones of J.R. Jones’ upcoming tour are now on sale. More information and tickets are available here.
Tour Dates:
10/12 – Washington, DC – DC9
10/13 – New York, NY – Mercury Lounge
10/14 – Woodstock, NY – Levon Helm Studios
10/16 – Richmond, VA – Camel
10/17 – Charlottesville, VA – The Southern Cafe and Music Hall
10/18 – Raleigh, NC – The Pour House Music Hall & Record Shop
Bardavon has announced the Catskill Ballet Theatre’s The Nutcracker, set to perform three shows this December at the Ulster Performing Arts Center (UPAC) in Kingston. The Nutcracker is a classic two-act ballet by famed Russian composer Pyotr Ilyich Tchaikovsky, written as an adaptation of E. T. A. Hoffmann’s short story, The Nutcracker and the Mouse King.
The Catskill Ballet Theatre Company is a non-profit organization, operating throughout the Hudson Valley region. The Company has presented The Nutcracker at UPAC annually for over 30 years. The performance is a showcase of young and local talent, where young dancers are given the opportunity to join a professional company for live performances.
In addition, Bardavon announced a performance from A Celtic Christmas by A Taste of Ireland, following their sold out Australian tour in 2021. The show follows a story of two star-crossed lovers, complemented by award-winning Irish musicians and dancers.
Choreographed and produced by National Champion and star of Gaelforce Dance and Rhythms of Ireland Brent Pace, and World Champion Ceili Moore, A Celtic Christmas is a spectacular show not to miss.
Tickets for The Nutcracker and A Celtic Christmas are available now at Bardavon and UPAC box offices, Tuesday-Friday 11am-5pm.
Contact Bardavon at 845-473-5288 and UPAC 845-339-6088, or email at boxoffice@bardavon.org. To purchase tickets online 24 hours a day go to ticketmaster (fees will apply).
