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DTSTART;TZID=America/Halifax:20231013T193000
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DTSTAMP:20260406T113457
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SUMMARY:Casting Off: A Good Catch
DESCRIPTION:Intergenerational circus with lots to say: the personal is political\, fury is fun and the acrobatics downright dangerous – especially when life gets in the way. Casting off stereotypes\, these dynamic Australian women tumble\, talk\, fly\, and balance precariously. A disarming\, hilarious show about living on the edge and talking about it; and how it’s easier done than said. Circus that makes you laugh and cry simultaneously! Relaxed\, personal and fantastically inappropriate. \nA Good Catch makes arthouse circus with a devising and democratic process. They experiment with circus structures with a feminist tone and a proactive attitude. They formed in 2017 creating Bridges for the Mullumbimby Circus Festival followed by Casting Off for the Circus Oz Sidesault at the Melba experimental circus festival. Casting Off has since performed at Edinburgh\, Adelaide and Melbourne Fringe Festivals\, Bondi Feast and WA Circus Festival. Casting Off has won three fringe awards including The BankSA Best Circus & Physical Theatre Award – Adelaide 2019 The Total Theatre & Jacksons Lane Award for Best Circus at Edinburgh Fringe Festival 2018\, and Best Circus at Melbourne Fringe 2018. They find joy in each other’s strengths\, challenges and weaknesses\, and in support of new possibilities. \nDuration: 60 minutes
URL:https://uptownsj.com/event/casting-off-a-good-catch/
LOCATION:Imperial Theatre\, 12 King Square S.\, Saint John
CATEGORIES:Community,Theatre
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DTSTART;TZID=America/Halifax:20231014T193000
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SUMMARY:Donovan Woods
DESCRIPTION:with Opening act Kellie Loder\nDonovan Woods was in on the joke when he named his latest release. Riffing on a lyric from a Martin Simpson song (“Never Any Good”)\, Big Hurt Boy is a six-song exploration of how our failures — and our fixations on them — not only shape but enlighten us. \n“I write about them again and again\, just hoping people will still be interested\,” the acclaimed Canadian singer-songwriter says. “So the title is poking fun of myself\, that I’m theoretically this big sad guy who keeps getting dumped and writing fucking songs about it.” \nOr you could think of it this way: Woods’ deep curiosity about the human condition is why we so clearly hear our own stories in his. The details differ\, the characters change\, but at their core\, Donovan Woods songs are for and about everyone. \nThat’s particularly apparent on his new EP\, which will be released March 18\, 2022. Trying to capture more of an “undone” quality\, Woods wanted his latest songs to “get back to the feeling that my early recordings had.” You hear that in the spare\, subtle ache of “No Time Soon\,” an acoustic monologue Woods describes as “the story of my whole life.” \nI am a frightened rabbit\nRunning off a map\nOnly loved you out of habit\nI ain’t proud of that\nBut while I do the dishes\nI hum a little tune\nSomeday\, no time soon \n“These are smaller\, less polished songs than the ones I’ve been putting out recently\,” says Woods\, winner of the 2019 Juno Award for contemporary roots album (for Both Ways) and whose global streams have surpassed 210 million. \nStill\, Big Hurt Boy brims with some of the luminous production touches Woods has been adding to this repertoire lately. He wrote the album opener\, “I Won’t Mention It Again\,” on banjo\, which fades into a spectral backdrop of electronic textures and layers of lush harmonies. \nA co-write with Peter Groenwald\, “Leave When You Go” simmers with an R&B vibe backed by sensuous vocals from indie-pop artist Ralph. “A Picture of Us Smiling at a Party Five Years Ago\,” which reunites Woods with Katie Pruitt (who co-wrote and sang on Woods’ “She Waits for Me to Come Back Down”)\, untangles how our memories are often preserved by photos. “It’s about nostalgia\, which is just a memory that doesn’t have any of the stress or dread or anxiety that the real-time experience had\,” Woods says. \n“I Hope You Change Your Mind\,” co-written with David Hodges\, is such an understated tearjerker that you don’t even realize the relationship is over until the last line. “That song is about that back-end portion of a relationship when everyone knows the score but no one wants to say it\,” Woods says. “It’s loving someone so much that you’re not sure how to be mad at them\, so you twist yourself into knots.” \nBig Hurt Boy is the follow-up to 2020’s Without People\, Woods’ celebrated album he made in isolation at the height of the pandemic. Whereas those songs were recorded in a makeshift studio at his Toronto home\, with collaborators working remotely\, his latest release harnesses the electricity of a roomful of musicians laying down tracks live in the studio\, a first for Woods. \nReleased on Wood’s Meant Well label\, Without People was acclaimed as “a nuanced experience” (American Songwriter) and a thoughtful exploration of “fleeting interpersonal moments now under the microscope” (NPR/KUTX). So much of that album’s allure was rooted in how Woods connected with his collaborators and imparted the intimacy so many of us craved during a global health crisis. It was so successful\, in fact\, that it led to a deluxe edition of Without People in 2021. \nAs an in-demand songwriter whose work has been recorded by the likes of Tim McGraw (“Portland\, Maine”) and Lady A’s Charles Kelley (“Leaving Nashville”)\, Woods has been venturing beyond the singer-songwriter scene where he first cut his teeth. Equally at home in folk and country\, he has worked with songwriters such as Tom Douglas\, Lori McKenna\, Brandy Clark\, Ashley Monroe\, Dustin Christensen\, Femke Weidema\, Steve Robson\, and Ed Robertson (Barenaked Ladies). \nWoods’ featured vocals on Dabin & Nurko’s “When This Is Over” veered into anthemic dance pop\, and yet Woods still sounded right at home. On “IOWA\,” Woods found a kindred spirit in Grammy Award winning singer-songwriter Aoife O’Donovan for a pastoral meditation on dreaming of a place you know doesn’t exist. \nEach of these collaborations has highlighted a budding truth about Woods: As respected as he is as a solo artist\, he’s evolving and upending our expectations of how his music sounds. His songs have grown more dimensional\, emboldened by new sonic landscapes\, reminding us that classic songwriting transcends genre.
URL:https://uptownsj.com/event/donovan-woods/
LOCATION:Imperial Theatre\, 12 King Square S.\, Saint John
CATEGORIES:Community,Live Music,Theatre
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