#hell'skitchen

NEW YORK - The American Relics at Chelsea Table + Stage.Band leader John Gitano and his band assembled on stage before a packed house in the marvelous Chelsea Table + Stage. Wondering about the billing of "American Relics," with the opening performance of Ticket to Ride of Beatles and Carpenter's fame, I quickly discovered that the band embodied the spirit of the late 1960s. Alongside Gitano were bandmates who shared his passion for the era's music and style.Psychedelic ExperimentationThe band's sound presented a phantasmagoria of influences from the late 1960s, blending the raw energy of garage rock with the sensibilities of pop and the psychedelic experimentation of the era. I noted the modal shifts of Ted Nugent and the Amboy Dukes as The American Relics drifted into the Rolling Stones' Gimme Shelter. Gitano and company understand the iconic bands and sounds of the time while infusing their own compositions with the same infectious grooves and catchy hooks. The American Relics peform for a packed house at Chelsea Table + Stage. Photo by Edward KliszusNostalgia and ExhilarationThe show was an immersive experience, transporting audiences back to the heyday of flower power and free love. Their performance of Hush of Deep Purple fame used the classic lead guitar sound, rock riffs, solid bass, and edgy vocals to create an atmosphere of nostalgia and exhilaration. Gitano commanded the stage with boundless energy, his voice echoing the spirit of rebellious youth. Many listeners could not stay seated, dancing in front of the bandstand. All that was missing was the iconic 1969 Woodstock Flame On! that launched candle and lighter waving at live concerts.Electrifying CoversWhile the band paid homage to the classics with electrifying covers of iconic hits, they did not merely mimic the past. They're on a mission to keep the spirit of the 1960s alive by writing original songs that capture the era's essence. Their lyrics speak of love, revolution, and the search for meaning in a turbulent world, echoing the sentiments of a generation that dared to challenge the status quo. In the song My Impala, Gitano blends the feelings of the 60s with echoes of the 80s, driving rhythms, and synth sounds of the famed Yamaha Dx 7. Do you remember Kenny Loggins's Danger Zone?Swirling Guitars and Hypnotic RhythmsThe band led listeners through a journey of swirling guitars and hypnotic rhythms, channeling the protest anthems of the era with their defiant lyrics and infectious choruses. Each song was a sonic time capsule, offering a glimpse into a bygone era while remaining relevant to modern audiences. L-R Patty Jarman, John Gitano, and Adrian Duggar with The American Relics on stage at Chelsea Table + Stage. Photo by Edward KliszusTorchbearers of a Musical RevolutionThe American Relics isn't just a tribute band to inspire baby boomers. The audience represented multiple generations, clearly paying tribute to tonight’s torchbearers of a musical revolution that continues to inspire generations.The American Relics at Chelsea Table + StageJohn Gitano - Lead singer, guitarist, and principal songwriterNeal Lazar – GuitarAdrian Duggar, Singer and Opera StarNelson Montana, BassPatty Jarman, GuitarChelsea Table + Stage152 West 26th Street (bet 6th and 7th Avenues)(Hilton Fashion District Hotel)New York, NY 10001Tickets and [email protected] may also enjoy our reviews of Gabrielle Stravelli at Chelsea Table + Stage, Tribute to Chita Rivera, There's A Little Starch Left at Don't Tell Mama, The Sweet Spot, and The Days of Wine and Roses.https://youtu.be/TthMbF4PXNo?si=zcC4GLnVqm0lL049

NEW YORK - Brian J. Nash at The Green Room 42Award-winning producer, singer, music director, and over-the-top talented piano-playing entertainer Brian J. Nash roused the audience when he presented his Sunday Night Music Club at The Green Room 42.Nash remarked that this was his first solo show with a band since 2015, and his jokes continued to make guests laugh. What was so precious was that he laughed with himself. His jokes were a little odd, but you sense there’s a deep-thinking mind in Nash’s head. Creativity and intellect often go together, and Nash surely displays both traits.Nash played a variety of tunes, from Sondheim to Billy Joel and beyond, mixing in his crazy trademark “Nash-Ups,” which takes you across the universe of music eras. He nicknames some of his tunes “Tragic Ballads,” but there’s nothing tragic about his style. He took up the piano after seeing Tori Amos when he was younger. Watching him athletically pound the keys is exhausting.One of his first songs was Landed, written by Ben Folds, featuring prominent piano. It’s a song about the insecurities and manipulation of relationships. Most of us can relate to the words of pain and strength. Nash’s vocal range was apparent right off the bat, capturing the attention of everyone in attendance as he sang the highs and lows of the tune.Who doesn’t love a little Stephen Sondheim? We had the pleasure of hearing “Marry Me a Little” which reminded us why we miss the gifted Sondheim year after year. Another song about relationships and our fears about them pulls at the heartstrings of those who were once “almost” lovers but afraid of full commitment. The audience would have loved more Sondheim by the accomplished man on stage; the audience wholeheartedly applauded Nash for his version of this early 80s melody.Nash’s followers loved the Matt Alber hit End of the World, whose theme is that love is a roller coaster ride that struggles with uncertainty. But the song is also a request to be courageous, and it is beautiful and painful. Most listeners agreed.Nash did his “Mash-Up,” performing a mixed-up version of Billy Joel’s Scenes from an Italian Restaurant with everyone in the house singing along. Nash’s exuberant performance on the keys probably wore out the piano. Nash pulled out a Kazoo, so excited by his performance that he dropped it in the middle of the song and screamed, “F***.” That lit the room with even more howling laughter.Nash played Tori Amos’s song Tombigbee, a song about the unfortunate treatment of Native Americans, followed by an electrifying rendition from Rent with Natalie Joy Johnson.One could sense Nash wanted to play all night. He threw in some music from U-2 and Fleetwood Mac, then finished the evening with Johnson singing Midnight Radio, which reignited the crowd. When asked if he was a singer and not a comedian, he said, “I never know what I’m going to say onstage or perform. I have this stream of consciousness that just comes out.”Don’t go see Nash if you want some quiet piano music to lull you to sleep. Go because you never know what you will hear or see on stage from the phenomenal Brian J. Nash, and that is to be celebrated.Brian J. Nash in Sunday Night Music Club at The Green Room 42, 570 10th Avenue, New York 10036. with special guest star Natalie Joy Johnson.Readers may also enjoy our reviews of Gabrielle Stravelli at Chelsea Table + Stage, Tribute to Chita Rivera, There’s A Little Starch Left at Don’t Tell Mama, The Sweet Spot, and The Days of Wine and Roses.https://youtu.be/6IhH-G5T114?si=03flmiycEpeaMAGO

NEW YORK - Brian J. Nash at The Green Room 42Award-winning producer, singer, music director, and over-the-top talented piano-playing entertainer Brian J. Nash roused the audience when he presented his Sunday Night Music Club at The Green Room 42.Nash remarked that this was his first solo show with a band since 2015, and his jokes continued to make guests laugh. What was so precious was that he laughed with himself. His jokes were a little odd, but you sense there’s a deep-thinking mind in Nash’s head. Creativity and intellect often go together, and Nash surely displays both traits.Nash played a variety of tunes, from Sondheim to Billy Joel and beyond, mixing in his crazy trademark “Nash-Ups,” which takes you across the universe of music eras. He nicknames some of his tunes “Tragic Ballads,” but there’s nothing tragic about his style. He took up the piano after seeing Tori Amos when he was younger. Watching him athletically pound the keys is exhausting.One of his first songs was Landed, written by Ben Folds, featuring prominent piano. It’s a song about the insecurities and manipulation of relationships. Most of us can relate to the words of pain and strength. Nash’s vocal range was apparent right off the bat, capturing the attention of everyone in attendance as he sang the highs and lows of the tune.Who doesn’t love a little Stephen Sondheim? We had the pleasure of hearing “Marry Me a Little” which reminded us why we miss the gifted Sondheim year after year. Another song about relationships and our fears about them pulls at the heartstrings of those who were once “almost” lovers but afraid of full commitment. The audience would have loved more Sondheim by the accomplished man on stage; the audience wholeheartedly applauded Nash for his version of this early 80s melody.Nash’s followers loved the Matt Alber hit End of the World, whose theme is that love is a roller coaster ride that struggles with uncertainty. But the song is also a request to be courageous, and it is beautiful and painful. Most listeners agreed.Nash did his “Mash-Up,” performing a mixed-up version of Billy Joel’s Scenes from an Italian Restaurant with everyone in the house singing along. Nash’s exuberant performance on the keys probably wore out the piano. Nash pulled out a Kazoo, so excited by his performance that he dropped it in the middle of the song and screamed, “F***.” That lit the room with even more howling laughter.Nash played Tori Amos’s song Tombigbee, a song about the unfortunate treatment of Native Americans, followed by an electrifying rendition from Rent with Natalie Joy Johnson.One could sense Nash wanted to play all night. He threw in some music from U-2 and Fleetwood Mac, then finished the evening with Johnson singing Midnight Radio, which reignited the crowd. When asked if he was a singer and not a comedian, he said, “I never know what I’m going to say onstage or perform. I have this stream of consciousness that just comes out.”Don’t go see Nash if you want some quiet piano music to lull you to sleep. Go because you never know what you will hear or see on stage from the phenomenal Brian J. Nash, and that is to be celebrated.Brian J. Nash in Sunday Night Music Club at The Green Room 42, 570 10th Avenue, New York 10036. with special guest star Natalie Joy Johnson.Readers may also enjoy our reviews of Gabrielle Stravelli at Chelsea Table + Stage, Tribute to Chita Rivera, There’s A Little Starch Left at Don’t Tell Mama, The Sweet Spot, and The Days of Wine and Roses.https://youtu.be/6IhH-G5T114?si=03flmiycEpeaMAGO

NEW YORK - Broadway’s Hell’s Kitchen establishes comprehensive fellowship programAPPLICATIONS NOW OPENAlicia Keys and Broadway’s HELL’S KITCHEN are thrilled to announce the establishment of a comprehensive Fellowship Program dedicated to building and strengthening the Broadway employment pipeline by engaging and employing individuals from historically overlooked communities to become active and continuous participants in the Broadway workforce.The Fellowship Program will place Fellows across nine departments, including Direction, Choreography, Scenic Design, Costume Design, Lighting Design, Sound Design, Projection Design, Company Management/Executive Producing, and Public Relations. Applications are now open at HellsKitchen.com. Representation remains a central focus of today’s theater landscape and is the inspiration for the genesis of this Fellowship. This initiative is rooted in the intersectional experiences of BIPOC theater creators and administrators. Fellows will be exposed to the inner workings of a large-scale Broadway musical, be assigned a mentor in their dedicated department, and receive in-depth training in an area that aligns with their interests and talents.Additionally, Fellows will have access to industry networking opportunities, private and group coaching sessions, and interactions with Broadway’s leading creative and management teams. Each Fellow will be compensated with a weekly salary for a fellowship period between seven to nine weeks.“In bringing Hell’s Kitchen to Broadway, I’ve experienced firsthand the collaboration across the many disciplines of theater that goes into creating a big, new Broadway musical,” said producer Alicia Keys. “I’m also aware of the lack of representation across our industry, and it quickly became a priority to establish this Fellowship program to offer guidance to underrepresented theater makers and create opportunities to deepen the impact of the art we are creating. We want to continue to challenge our industry to make a commitment to change, and we are starting at home, at Hell’s Kitchen.”“Making this critical space for art makers to have direct access to Broadway greats is a proud moment for us as advocates and people of color,” said Associate General Manager Devon Miller and Director of Equity, Diversity and Inclusion Alexa Smith. “This program marks a major milestone on the road to a more inclusive and representative industry for all.”Hell’s Kitchen is conceived by the innovative mind of 15-time Grammy Award winner Alicia Keys, with music and lyrics by Keys, book by Pulitzer Prize finalist Kristoffer Diaz, music supervision by Emmy and Grammy Award winner Adam Blackstone, music consulting by two-time Tony and Emmy winner Tom Kitt, choreography by Tony Award nominee Camille A. Brown and direction by Tony Award nominee Michael Greif. The first preview is set for Thursday, March 28, 2024, and opening night is Saturday, April 20, 2024, at Broadway’s Shubert Theatre (225 West 44th Street.).The creative team for Hell’s Kitchen includes Robert Brill (Scenic Design), Dede Ayite(Costume Design), Natasha Katz (Lighting Design), Gareth Owen (Sound Design), Peter Nigrini (Projection Design), Mia Neal (Hair and Wig Design) and Foresight Theatrical (General Management).Readers may also enjoy reading TRU Producer Boot Camp, The Winter Show: Supporting The East Side House Settlement, Clemente Soto Vélez Cultural and Educational Center Project, Smashworks Social, Thunderbird Dancers, and the Fall for Dance Festival. https://youtu.be/4dNaSH2N3Ww?si=3gR414Yw02CymWhL