Author: Cullen Bunn
Series: Castle: Derrick Storm
Hardcover: 112 pages
Publisher: Marvel
Release Date: May 13, 2014

Our Score: 5 out of 5 stars

When I started watching “Castle” in 2009, I would have thought that it would have still be going so strong now 5 years later. The show just got renewed for a second season. There has been seven (with two more on the way) novels released which were spin off from the show’s characters Nikki Heat and Derrick Storm, as well as three e-books for Derrick Storm. Then I haven’t even gotten to the graphic novels yet. There been “Richard Castle’s Deadly Storm”, “Richard Castle’s Storm Season” and “Richard Castle’s A Calm Before Storm” released in comic book form. I swear every time I think about it I just get so excited with the success that this show has had. “Richard Castle’s Unholy Storm” is the latest graphic novel release based on the series and it is easily one of the best yet.

Official Premise: The best-selling graphic novel saga, based on the world of ABC’s hit prime-time series, continues! Derrick Storm is back. And he has a new, deadly case to solve. When the daughters of four high-powered international businessmen are discovered dead in NY, the NYPD scrambles to bring the murderer to justice. But when a fifth girl is found mutilated in a pool of her own blood, her prestigious French family hires Derrick Storm to run his own investigation and find the real killer. Storm has only one lead – a strange symbol drawn in blood. Storm enlists the help of the beautiful and daring Clara Strike, his CIA handler. Together they uncover a deep web of deception under the guise of mysticism and devotion. And in a race against time, this most unlikely pair unlock a mystery capable of creating global catastrophe!

Ever since I read the three e-books focusing on the character of Derrick Storm, I have been hooked. I love his smart ass attitude and wit. He also proves himself to be extremely sharp as well. I love the style for these graphic novels. I have always had a picture of Derrick Storm in my head and these illustrators completely nailed it. He is ruggedly handsome like you would expect and his CIA operative Strike is drawn quite voluptuous, as you would expect in a graphic novel aimed for guys. Throw in a little spy/detective work and some zombies/vampires and you have me hooked. My only complaint with this release is that I want more and I really don’t want to wait till next year for the next graphic novel. Luckily, we have never episodes of “Castle” and Nikki Heat’s latest novel with “Raging Heat” this ” September.

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JJJ PRODUCTIONS IN ASSOCIATION WITH CULTURE PROJECT & AARON GRANT THEATRICAL, INC ANNOUNCE THE WORLD PREMIERE OF THE OFF-BROADWAY MUSICAL

A RADICAL NEW MUSICAL

INSPIRED BY THE CLASSIC NOVELLA “ANTHEM”

AND THE WORKS OF AYN RAND

BOOK BY GARY MORGENSTEIN

MUSIC BY JONNIE ROCKWELL

LYRICS BY ERIK RANSOM

DIRECTED, CHOREOGRAPHED & DESIGNED BY RACHEL KLEIN

AT THE LYNN REDGRAVE THEATRE    (45 Bleecker St)

 PREVIEWS BEGIN: TUESDAY, MAY 20^th AT 7:00PM

OFFICIAL OPENING: THURSDAY, MAY 29^th AT 6:30PM

(New York, NY) – JJJ Productions in Association with Culture Project and Aaron Grant Theatrical, Inc have announced that the world premiere of THE ANTHEM, an original musical lovingly inspired by the classic Ayn Rand Novella, “Anthem”, with a book by Gary Morgenstein, music by Jonnie Rockwell and lyrics by Erik Ransom will begin previews on Tuesday, May 20, 2014, Off-Broadway at Culture Project’s Lynn Redgrave Theatre on 45 Bleecker Street.  This musical helmed by Rachel Klein officially opens on Thursday, May 29, 2014.  Spiderman‘s JASON GOTAY, Spring Awakening‘s REMY ZAKEN and RANDY JONES of The Village People lead a cast of theatrical favorites in this rollicking sci-fi musical, featuring an expansive aerial and circus environment, about a revolt of the young against an evil state.

Hunger Games meets Ayn Rand in a far off future (several centuries after the early 1980s) in a social media gone mad world, where individuality is illegal.  Prometheus (Jason Gotay) abandons everything to confront the State — controlled by the overlord of evil efficiency, Tiberius (Randy Jones).   With a forbidden copy of Ayn’s Rand’s ancient tome in hand, can Prometheus overthrow the system?

“A life in the show business and the theatre allows one many privileges,” stated Randy Jones when asked what attracted him to THE ATHEM.  “After seeing Around the World in 80 Days and meeting its director Rachel Klein, I was convinced a force of nature in the same talent vein as Julie Taymor and Diane Paulus had crossed my path.  Klein sees the world of theatre in a way that very few director/choreographers do.  Her ability to spin magic from actors, designers, musicians and crew is a wondrous thing to witness when ultimately presented onstage.  And that privilege I mentioned initially, is that I get to work with Rachel Klein on THE ANTHEM.”

The cast of THE ANTHEM features Ashley Kate Adams, Remy Zakan, Jason Gotay, Randy Jones, Jenna Leigh Green, Damian Thompson, Emily S. Grosland, Patch David, Shiloh Goodin, Jamyl Dobson, Katie Lee Hill, Crista Marie Jackson and Brian Ferree

The composer of THE ANTHEM is Jonnie Rockwell, director is Rachel Kelin, lyricist is Erik Ransom, book is by Gary Morgenstein, music director is Michael Gayle and the music coordinator is Mike Lunoe.

In addition to The Anthem, his first musical, Gary Morgenstein’s plays include Right on Target (a romance about an African-American conservative and his liberal Jewish wife), Ponzi Man (inspired by true-life white collar criminal/Scientologist Reed Slatkin), Mad Mel and the Marradians (a sci-fi political comedy) and A Tomato Can’t Grow in the Bronx (Neil Simon with an edge). Morgenstein has published four novels: Jesse’s Girl, Loving Rabbi Thalia Kleinman, Take Me Out to the Ballgame and The Man Who Wanted to Play Center Field for the New York Yankees. By day he is Director of Communications, for Syfy Channel where he is currently working on Sharknado 2.

Composer Jonnie Rockwell is the grandchild of renowned early 20th Century Czech opera composer & folklorist,Leoš Janáček.  Jonnie studied music & art at Skidmore, is a classically trained pianist & a preeminent synthesizer programmer. Influenced by the music of the 70s, she went on tour with the bands, Scarlet Fever, Starchild, and Baby for ten years.  Jonnie Rockwell is Co-Composer with John McDaniel on the upcoming musical adaptation of BRAVE NEW WORLD directed by Sheryl Kaller on which she collaborates with lyricist Bill Russell.   She was guided along the way by Donald Farber and Ken Russell in accomplishing her dreams of creating great theatre.  She is also a successful & well-respected physician on Manhattan’s Upper East Side.

Lyricist Erik Ransom is a composer, playwright, librettist and performer with a diverse body of work. After graduating from The College of New Jersey in 2004 with a degree in music performance, he went on to work extensively as a performer on the stages of New York, New Jersey and Pennsylvania, most recently in the repertory company of “My Big Gay Italian Wedding” and “My Big Gay Italian Funeral”. His first full-length musical, “Coming: A Rock Musical of Biblical Proportions” was fully produced at The Prince Music Theatre in February 2011: Less than a year after the first draft was begun. “Coming”, for which Erik wrote book, music and lyrics, played to packed houses and unanimously favorable reviews, including raves from The Huffington Post, Edge Magazine and The Philadelphia Inquirer. His other produced works include, “SAGA The Ragnarok Opera” and “Tragic Events”. Erik Ransom’s latest opus, “GRINDR The Opera” is currently in development for a concert presentation late this Spring.

Director Rachel Klein is a theater director, choreographer, and costume/production designer coined “a new generations’ Julie Taymor,” “endlessly clever” and “the Mistress of the Macabre.” Recent credits include a 5 month commercial Off-Broadway run of Around the World in 80 Days, the Mondo Cane Dance Commission from Dixon Place to create her dance and circus nightmare-scape, Symphony of Shadows; the critically acclaimed morbid fantasia The Tragedy of Maria Macabre; and an Off-Broadway workshop of the rock musical Gay Bride of Frankenstein presented by the iStar Theater Lab. She recently directed The Dead Dream Machine, a horror anthology with puppets and music that featured performances by Michael Musto, Miss Guy, Justin Vivian Bond, Rob Roth, Lady Rizo, Broadway’s Constantine Morulis, and Randy Jones from the Village People.  She received nominations from the Innovative Theater Awards for Outstanding Director of a Play and for Outstanding Choreography/Movement for the aerial musical spectacular, Circus of Circus at the House of Yes in Brooklyn. Previous residencies include a monthly artistic residency at Bowery Poetry Club and an Emerging Artist’s Residency to build new work through the Field and the Tides Foundation. She holds a BA in theatrical directing from Columbia College, is an alumni of the International Director’s Symposium in Spoleto, Italy, and is an Associate Member of the SDC.

Musical Director Michael S. Gayle is a native of Stuggart, Germany raised in the United Statesm. Michael is a multi-talented musician/composer and arranger. He is a proficient singer, songwriter, arranger, mixer and producer with excellent skills in various instruments including the saxophone & piano. Michael served as Music and Fine Arts Director at Providence Assembly of God, Collaborator for community programming at the Black Respiratory Theater, Artist Educator for the Rhode Island Philharmonic School of Music, Musical Director/Minister of music for several churches and has given instrumental and vocal training at various inner City locations such as, Nathan Bishop Middle School, Boys & Girls HS, Blackstone Academy HS and the Bradley Hospital for Children with occupational disorders. He also gives individual tutoring in piano, saxophone and voice training.

Production design for THE ANTHEM includes scenic design by Robert Kovach, lighting design by Kryssy Wright, costumes co-designed by Kae Burke, sound design by Sean Hagerty, additional musical staging and chorography by Danielle Marie Fusco, additional aerial choreography is by Brian Ferree, ariel rigging design is by Joshua Sherer, props and projections by Ellie Engstrom and the SMs are Jane Pole and Nicole Kuker.  Casting is by Daryl Eisenberg Casting.

Following Opening Night, regular performances of THE ANTHEM are Thursdays through Tuesdays. Thurs, Fri, Sat at 8PM; Mon and Tues at 7PM. Matinees are on Sat and Sun at 3PM.

Tickets are $33 – $99 and available online through OvationTix at www.ovationtix.com or by calling 866-811-4111.

ABOUT JJJ PRODUCTIONS

JJJ Productions is committed to developing classic works from the past about the future for the present.

ABOUT CULTURE PROJECT

Since 1996, Culture Project has told stories as timely as the morning’s newspaper in a way that cannot be matched by commercial media. Through brilliantly conceived, expertly staged dramas, which blend prize-winning theater with urgent moral dilemmas, Culture Project sparks conversation and incites political action. A venue for acclaimed, prize-winning performance, Culture Project is also a magnet for today’s best talent including Meryl Streep, Danny Glover, Mary J. Blige, Robin Williams, Marisa Tomei, Bob Balaban, Rinde Eckert, Montel Williams, Frank McCourt, Staceyann Chin, Lynn Redgrave, Sarah Silverman, and other artists who share a passion for theater and public justice.

ABOUT AARON GRANT THEATRICAL, INC

Aaron Grant is an independent General Manager and Producer who has been active in the theatre for over a decade.  Aaron was lead producer on 2010’s White’s Lies at New World Stages, which finished a successful run in Michigan in 2013.  In 2013 Aaron opened AARON GRANT THEATRICAL,INC., prior to which he was a Partner and General Manager at Kelvin Productions with the late Vincent DeMarco.  Productions in development include The Legend of Bobby Stone and the Good Feeling Hat by Ben Andron (to be directed by Peter Scolari), Shadows and Mirrors by Ken Wydro, Lippi by Ken Sutherland and a musical adaptation of Brave New World. Aaron and the entire AARON GRANT THEATRICAL, INC. team are very excited to be working on The Anthem.

LISTINGS INFORMATION:

WHO: JJJ Productions in Association with Culture Project and Aaron Grant Theatrical, Inc

WHAT: Off-Broadway Musical, THE ANTHEM

WHEN: Previews Begin on Tuesday, May 20 – Official Opening on Thursday, May 29

WHERE: Lynn Redgrave Theatre, 45 Bleecker Street.

TICKETS: $33 – $99

WEBSITE: www.TheAnthemMusical.com

Feld Entertainment, Inc., Brings the #1 Animated Movie of All Time to Life

with Disney On Ice presents Frozen in Orlando

Tickets On Sale June 3 for Touring Skating Spectacular
Featuring Dynamic Sisters Anna and Elsa, Appearing for the First Time in a Live Production

ORLANDO, Fla. (May 20, 2014) – Feld Entertainment, Inc., the worldwide leader in producing live touring family entertainment, today announced that its 34^th Disney On Ice spectacular will bring the Academy Award^®-winning and number one animated feature film of all time, Disney’s Frozen, to life.  Disney On Ice presents Frozen visits Orlando from September 5 to September 7 for seven performances at the Amway Center; tickets go on sale June 3 at 10 a.m.

The Academy Award^® winning tale will be told live for the first time in this production, capturing the dynamic between two royal sisters, Anna and Elsa.  Anna, a girl with an extraordinary heart, embarks on an epic journey to find her sister, the magical Elsa, who is determined to remain secluded as she finally feels free to test the limits of her powers.    Rugged mountain man Kristoff, his loyal reindeer Sven, the lovable and hilarious snowman Olaf and the mystical trolls help Anna along the way in this story about love conquering fear.  Audiences will get to sing along with such musical masterpieces as “Let it Go,” “Do You Want to Build a Snowman?” and “Fixer Upper.”

“In our more than 30 years of producing Disney On Ice shows, Feld Entertainment has been waiting for a film like this,” says producer Nicole Feld.  “While it might seem obvious that Frozen is well suited for the ice, this Disney On Ice production will touch audiences emotionally through innovative show elements and world-class skating.”

Frozen directors Chris Buck and Jennifer Lee add, “Seeing audiences around the world embrace Frozen has been the experience of a lifetime.  And to now have the chance to consult with the talented team at Feld Entertainment and watch their creation come to life on ice, is thrilling.”

In Disney On Ice presents Frozen, Mickey Mouse and Minnie Mouse take the audience through the magical story based in Arendelle, with special appearances by beloved Disney princesses and favorite characters from Disney/Pixar’s Toy Story and Finding Nemo and Disney’s The Lion King, who come together to prove that true love is the greatest power of all.  Director Patty Vincent says, “Our goal is to showcase these heartwarming characters in a way that allows the audience to cheer and sing along throughout this emotional journey.

To create a completely immersive experience for the audience, the set design will encompass the space from the ice surface up through the air, drawing everyone into the story and closer to the characters. Families will feel that they are trekking up to the North Mountains with Anna, Kristoff and Sven, and they will tangibly experience the storm inside Elsa.  Elsa’s magic will be enhanced by state-of-the art special effects while her emotions will be conveyed through powerful skating.

Where: Amway Center, 400 West Church Street – Suite 200, Orlando, Florida 32801

Dates and Times of Performances:          

Friday, September 5 at 7:30 p.m.

Saturday, September 6 at 11:00 a.m., 3:00 p.m. and 7:00 p.m.

Sunday, September 7 at 11:00 a.m., 3:00 p.m. and 6:30 p.m.

Ticket Prices and Purchase:

Tickets start at $16.  $65 Front Row, $39 Premium, $30, $22, $16

(Ticketmaster service charges and facility fees not included.) All seats are reserved, and tickets are now on sale to the public.  Tickets are available atwww.DisneyOnIce.com or www.ticketmaster.com, at any Ticketmaster outlet, by calling 800-745-3000, or at the Amway Center box office (phone for information only: 407-440-7900).  For group ticket sales and information, call 866-248-8740.

For a complete list of tour dates, visit the Disney On Ice website (http://www.disneyonice.com) and stay current on the latest developments through social media, including instructions on how to access presale codes for tickets as early as May 20th:

• Facebook  (www.facebook.com/DisneyOnIce)
• Twitter  (@DisneyOnIce/@NicoleFeld (show’s producer twitter feed))
• YouTube  (www.youtube.com/DisneyOnIce)

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“Ghost The Musical”
Bob Carr Performing Arts Center
Orlando, FL
May 13-18, 2014

Our Score: 5 out of 5 stars

“Unchained Melody” by The Righteous Brothers is probably one of my all-time favorite long songs. I remember watching the film “Ghost” as a kid (probably too young to even get the film) and I fell in love with that song. The film is such a classic and whew knew that it could ever be turned into a Broadway play. Leave it up to the amazing, Bruce Joel Rubin (original writer of “Ghost”), who gave the words to “Ghost: The Musical” and the very fresh pop/rock score delivered by Grammy winner Dave Stewart (Eurythmics) and Glenn Ballard (writer of Josh Groban’s “Believe” and Alanis Morisstette’s “You Outta Know”). The show is such an experience, that is the only way I am able describe it. It is exhilarating and also at the same time exhausting. They not only capture the essence of the original film but also improve it to make this one of the best plays that I have ever seen on the stage.

We all know the story but just in case you don’t, here is official premise: “‘Ghost: The Musical’ follows Sam and Molly, a young couple whose connection takes a shocking turn after Sam’s untimely death. Trapped between two worlds, Sam refuses to leave Molly when he learns she is in grave danger. Desperate to communicate with her, he turns to a storefront psychic who helps him protect Molly and avenge his death”. What I love the most about this play was that my wife hadn’t seen the film in years and yet she enjoyed it just as much as myself who had just watched the film again to refresh earlier this week.

From the moment the play starts, you are wowed with amazing visuals projected at the stage. You feel like you are being swept through New York City. This video presentation is used throughout the show along with amazing light, smoke and strobe light effects. There is one particular scene that really blew me away, which takes place on a subway car that left me speechless. I have seen many different plays at Bob Carr Performing Arts Center and none of them have ever been like this. I felt like I was literally sitting on Broadway watching this performance. It was so solid and well done that I haven’t stopped thinking about it since and have already looked up tickets for another showing.

Since this show is a musical, I was very interested how they were going to tell the story of “Ghost” through music. Right from the “Overture”, I fell in love with the songs (and even purchased the soundtrack). I loved the spin that they put on “Unchained Melody” and of course it is also cued through the entire show. I cannot get the track “Here Right Now” out of my head. I have had it on repeat. “More” is a tale about the life in NYC really hits home with my having lived and worked there for many years. “Are You a Believer” was a highlight of the show and literally had me rolling in my chair.

Steven Grant Douglas gave life (or after life) to the role of Sam Wheat. He was very strong and easily the best acting performance for the show. Katie Postotnik plays Molly Jenson and this girl can really sing. She nails the song “With You”. I could see her on the stages of Broadway since she really has the chops, so she takes the best singing in the show. Last but certainly not least everyone’s favorite Oda Mae Brown (who won Whoopi Goldberg an Oscar for from the film) is played by Carla R. Stewart. Let me tell you this woman had the audience in tears, laughing that is. She was the perfect comedic relief for this film and was hit for hit with each of the jokes. Put these amazing performance together with a wonderful production and you have a guaranteed hit with “Ghost: The Musical”, do not this miss on the stage!

“Ghost: The Musical” will be at Bob Carr Performing Arts Center from May 13th-18th. If you miss it in Orlando, be sure to check it out on the rest of its US National Tour below:
WORCESTER
HANOVER THEATRE
JUNE 5 – JUNE 8

HARTFORD
BUSHNELL
JUNE 10 – JUNE 15

MINNEAPOLIS
ORPHEUM THEATRE
JUNE 18 – JUNE 23

LOS ANGELES
HOLLYWOOD PANTAGES
JUNE 27 – JULY 13

COSTA MESA
SEGERSTROM CENTER
JULY 29 – AUGUST 10

LAS VEGAS
THE SMITH CENTER
AUGUST 12 – AUGUST 17

Ralph Steadman is a British Gonzo artist that is best known for his work with American author Hunter S. Thompson, author of “Fear and Loathing in Las Vegas”. After meeting each other in 1970 to cover the Kentucky Derby, Steadman and Thompson formed a long-time relationship. Steadman’s did the artwork for Thompson’s books over his career. He is also an author himself having written numerous books focusing on his drawings…or as Hunter would have called it his “filthy scribblings”, according to Ralph. This April, “For No Good Reason” makes its U.S. debut in NYC, which is a documentary on Ralph’s career. Media Mikes had a chance to chat with Ralph about the film and his work with Hunter S. Thompson.

Mike Gencarelli: Tell us about how you got approached for the documentary “From No Good Reason”?
Ralph Steadman: The director Charlie Paul initially came down to see me, then the producer Lucy Paul. This was over a period of twelve years, you know. They would stay for lunch, we would talk and then we would carry on. So over twelve years, we made this film. It just seems so long ago from when we first started it. They got Johnny Depp involved, which was good because he has become a personal friend of mine over the years. He is such a great guy, easy going, warm, genuine and terrific fellow…
MG: I loved Johnny’s narration in the film as well, very nice touch.
RS: Oh yeah, it was lovely. I agree.

MG: How did you feel about having a documentary about your life done?
RS: I first thought “For God’s sake…why?” “For no good reason”…that is what Hunter would have said. I used to always ask “Why are we doing this Hunter?” and he would always say “For no good reason, Ralph” [laughs].

MG: How was it seeing some of your drawings brought to life and illustrated in the film?
RS: That was quite interesting. I couldn’t be an animator in old Disney way when they used to draw one picture and then other but slightly different and then you would put them together like a flip book and they would actually move. The only thing I liked like that was doing something simple like a dot or a splat and putting it in a book form and flipping it and watching it move, that to me was magic. I like doing that kind of thing. But seeing my drawings in the film was really great.

MG: I find it so interesting that you said in the film that your work is unprofessional and “it is as unexpected to me as it is to anyone else”; can you talk about this aspect?
RS: Yeah, that is because I don’t do any pencil work. I never plan anything. I just begin and the drawing becomes what it becomes. My reaction every time is “I don’t know how I did that”. I am always amazed. “How the fuck did I do that?”, I usually say. It’s like Ludwig Wittgenstein’s idea that only thing of value is that thing that you cannot say but you can see it. I like that a lot.

MG: So how did your splatter technique come about then?
RS: Oh that was clumsiness. I was clumsy. I said “Oh shit” when I flicked my wrist with my pen but I realized it made this beautiful sweep of blots. I thought to myself them “Oh I like that, it’s quite nice” So I started to use it more deliberately. I would spill ink all over the place. I liked the idea of putting a sheet of paper on the studio floor taking a bottle of ink high on a ladder and dropping it. Not all of it…but just enough. It would make terrific, radiating splatters of different designs. Then you look and think “Hmm, it could be a spider” and I would go from there.

MG: Looking back at the film now, how do you feel that it has come together?
RS: I was amazed by it actually. After twelve years, it was nice to see it all come together. They did cut out a few things that I would have liked them to keep in like my art teacher, Leslie Richardson. This was a pity since I really wanted him in it. What they were after was the notoriety including the fame of Johnny Depp. So poor Leslie Richardson, who is now 93, was left out. But he still goes around kicking old ladies and children in the streets [laughs].

MG: Tell us how you originally crossed paths with Hunter Thompson?
RS: When I was planning to come to New York in 1970, I had some friends that invited me to stay with them in the Hampton’s. They were soon to be married, so I felt a little uncomfortable saying with them for a long period of time. So after staying a little while, I was going to leave for the city and I was about to leave when there was a cal from a guy named J.C. Suarez. He was an editor from Brooklyn. He wanted me to come to Kentucky and meet an ex-Hells Angels, who just shaved his head. I asked why did he do that and he said “Why? Because he’s a Hells Angels. He is a rebel”. So I asked “What for?” He told me that he was not only looking for a photographer but for an artist and they saw my book of pictures called “Still Life with Raspberry”, which was my first book of collected drawings. Don Goddard was the foreign editor of The New York Times and he had found the book in England and then came back and said that they need to put me with Hunter Thompson. So that is how it happened.

MG: Do you feel that your career would have been different if your path’s didn’t cross?
RS: As far as I was concerned, meeting Hunter and going to Kentucky was a bulls eye for me. For all the people that I could meet in America, he would be the one…go figure. Meeting Hunter was the best thing for me in terms of making a career. What we did for journalism was that we became the story and that became know as gonzo journalism. That was really what was so good about it. One day, this guy Bill Cardoso told us that the Kentucky Derby piece we did was “pure gonzo”. Hunter never heard the word before and it really stuck. He used to say “Don’t do those filthy scribblings”. He used to call my drawings filthy scribblings [laughs]. He used to also tell me “Don’t write Ralph, you will bring shame on your family”. But he always loved to sort of go against you but on purpose because he would know that it would provoke me and my work would benefit.

MG: “Fear and Loathing in Las Vegas” is one of my favorite books and the movie is great as well…
RS: The thing is people get too sniffy about the movie and things like that. They say that it is not quite this or quite that. No! It is a version of the book. I didn’t mind it, especially since the whole damn thing, “Fear and Loathing in Las Vegas” was a crazy idea to begin with.

MG: Do you recall how long it took you to complete the illustrations for the “Fear and Loathing in Las Vegas” book?
RS: I think I did nine pictures in a week and it was done. The rotten thing was that I ended up selling all of the originals since I was told it would be a good career move. I think I got $75 dollars each for them. Can you imagine what they are worth now?

MG: Has your drawings been affected since the death of Hunter S. Thompson?
RS: No, not really. I have been doing bird drawings for the last few years. I don’t like drawing politicians any more, I can’t be bothered. They are so awful. I don’t feel so bitter about it. I do not feel like I am trying to change the world. I have changed the world enough since I started and it is worse now than when I started [laughs]. So good, I have done what I had meant to do [laughing]

MG: Yeah, you start off the film saying you set out to “change the world”; I was going to ask if you felt that you have accomplished that goal?
RS: We’ll you look around, I have done my part but bloody computers have changed everything.The business and also people in general. You can’t walk down a side street without somebody passing you by and they are not looking at you or around them, they are looking down at their phone. I had to go on a train recently to Halifax for a show of my drawings and there was this woman on the train that was a good example. She had red hair which was long down one side and shaved on the other side. I have a drawing of it in my book here. She was so awful, I had to draw her. But she had her makeup out in one hand and her phone in the other from the moment she got on the train. That is the problem about the invasion of the computer, like Twitter. Everyone wants to tweet you now. So that is very weird to me.

MG: Tell us about your latest book “Proud Too Be Weirrd”?
RS: I collected together a bunch of things that I never had no good reason to use [laughs]. I thought I would start with the first page and go through my studio finding this and finding that and just building the book from there and that is how I worked on it. This guy Steve Crist from AMMO Books got in touch with me about doing it. He used to work at TASCHEN. Benedikt Taschen rang me after the book was made and said he was actually very disappointed because he wanted to do the book, but at the time I didn’t know this. He did my book with Hunter, “The Curse of Lono”. Steve Crist used to work with Benedikt and that’s where he began. He sort of adopted the style of big book like TASCHEN did. I really like the title “Proud Too Be Weirrd” and it is a great book

MG: What are some of the artists that inspire you?
RS: I love Picasso. He is such an inspiration for me. There is a film called “The Mystery of Picasso” that is really worth seeing if you can get a copy. It is fascinating for me to watch him at work. The director, who made the film, was allowed to by Picasso to be in the studio with him. This is what Charlie did with me as well for our film. Picasso would set things up for him including painting on glass and having him film from the other side. This is amazing work and it really continues to inspire me.

MG: Are you working on anything else new currently?
RS: I got a new book of creatures that I am working on right now. These are completely made up creatures for example instead of a pelican; you do a pelicant [laughs]. You have to keep doing something otherwise what is the point. I guess I am taking advice from my father, who couldn’t bear to just sit about. I am also learning how to etch steel plates as well. So I suppose I should continue to carry on.

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Last Year in Comics

So, here we are in 2014.  Hopefully, we’ll see more of the awesomeness that we saw in 2013’s comic books, as some seriously cool stuff came out.  However, there is always the other side to things; some companies made some horrible errors and some obvious ‘money grabs’.  Let’s take a gander, shall we?

DC Comics: 

Oh DC…it was going so right, where did it go wrong??  Last year saw the reboot of DC with the New 52, which was pretty damn awesome.  As with most reboots, all the industry’s best writers and artists were invited to the party, including Jim Lee re-envisioning the “Justice League,” which was hands down one of the most fun books to read at the time (and I never really liked the “Justice League”).  All of the Bat-Books that came out were so good that I actually didn’t mind having to read multiple books about the same character (something that started in the 80s & exploded in the 90s and has been a major annoyance for me ever since…at one time I remember there being something like seven or eight “Spider-Man” books and the same number of X-Books, all coming out at the same time…ugh, there’s only so much story people).  I was even getting excited about “Action Comics” and “Supergirl” for a few issues, and I absolutely hate the “Superman” family of books!!

But alas, it all came crashing down.  First, they did the unthinkable.  They turned three or four of their most hidden gems, the Coup-de-Villes at the bottom of the Cracker Jacks box, over to Rob Liefeld.  WHAT???  ARE YOU KIDDING ME??  DON’T YOU REMEMBER WHO THIS GUY IS??  So, what were once gritty, hard-hitting titles, like “Deathstroke,”  “Hawk & Dove,”  “Hawkman” and “Grifter,” which were all fun reads with outstanding art, became Liefeld strokefests and turned to utter crap, just like everything he’s ever done!!  History repeats itself…duh!  Then they pulled some of their better writers and artists off of the minor books, such as “Voodoo,”  “Stormwatch” and “Captain Atom,” all higher-brow reading with compelling stories that actually made you think about life and existence and such, because they were minor books (even though they were becoming majorly awesome because of those creators) to play shuffle around with the bigger books.  Cliché alert…if it ain’t broke…!!!

And then came the “Villain Month” money grab…I’m sorry, I mean crossover…which was the downfall of the New 52.  Half of the books were just horrible re-hashings of origins, some of the villains were in books that they weren’t even the villains of (such as the Ventriloquist in “Dark Knight,” even though they had just revamped the character and introduced her in “Batgirl”).  What could have been amazing fun (all the heroes are gone, let the villains play), became the biggest let down in comics of the time.  Even the best villain ever, The Joker, was just craptastic.  Instead of letting him run rampant, which would have been amazing, they retold an old campy story about his pet gorilla, even though they had just finished one of the darkest “Joker” storylines ever, including a Joker who was running around with his “face” as a flesh mask that barely hung from his head!!  And I won’t even mention the hologram covers and all the supposed shortages that happened…

Then the “Zero Year” debacle happened, forcing all of the Bat-books to tell the story that the editor wanted told.  By this point, there were so many crossovers happening that creators were walking away from the books that they once made incredible because they were being restrained by editorial whims.  Once again…REALLY DC??  REALLY??  HIRE BOB HARRAS, THE GUY WHO SINGLE HANDEDLY WRECKED THE X-UNIVERSE IN THE 90S???  Again, DC…don’t you remember these people and what they did.  Why hire them when you were doing just fine?!?!

It wasn’t all bad though!!  Thankfully, we did see some incredible stuff come out of DC.  Scott Snider’s “Batman” stories continue to enthrall readers.  Batgirl was truly wonderful as she became a renegade running from her own father, Commissioner Gordon.  “Batwoman”  was awe-inspiring with beautiful illustrations by JH Williams III and killer stories about supernatural villains and dark family secrets.  “Swamp Thing,”  “Aquaman” and “Earth 2” continue to be the most consistent and well-written stories with killer art and brilliant subtle humor.

To come full circle, DC did produce perhaps the best comic story I’ve read in years, “Injustice: Gods Among Us.”  Just simply & truly amazing.  Superman goes from a helpless lovesick fool who has no idea how to deal with the Joker (who tricks him into then killing Lois Lane) to a killer and militant totalitarian leader of the world, and Wonder Woman couldn’t be happier.  In her own words, “I was waiting for this.”  Of course, Batman is leading the resistance.  With twists and turns that rock the entire DC universe, including a Harley Quinn who acquires powers, this book is just simply brilliant!!

Next time, the ‘Independents’ and how they are currently ruling the comic industry.

“Jersey Boys”
Bob Carr Performing Arts Center
Orlando, FL
April 15 – 27, 2014

Our Score: 5 out of 5 stars

“Jersey Boys” premiered on Broadway back in 2005 and won a Tony for Best Musical the following year. I have seen many Broadway shows growing up and living in New York but I never did see “Jersey Boys”. Luckily living in Orlando, FL now I am still able to see Broadway quality shows at the Bob Carr Performing Arts Center. “Jersey Boys” is the latest show making its limited engagement during its national tour at this theatre.

I have always been a huge Frankie Valli and the Four Seasons fan and have seen them many times live over the years. I thought it was time to catch this show to see what all the fuss was about, especially being a huge fan of the music already. Well I didn’t just enjoy the play I absolutely loved it. I found myself moving my feet along with music and singing under my breath (sometimes louder)…and I wasn’t the only one.

Now obviously, I can’t compare the performances to the Broadway cast since I have never saw it but if I could I am sure that this National tour cast would really give them a very strong run. I was extremely impressed with Hayden Milanes in the role of Frankie Valli, that with an “I” not a “Y” because everyone knows “Y” is a bullshit letter. The guy has a voice of angel (sound familiar?) and really nailed this role. Nicholas Dromard was perfect as Tommy DeVito and really had the audience by the balls like woman type number 1 (or was it number 2?)

Quinn Vanantwerp was funny, charming and very charismatic. I really enjoyed his performance of Bob Gaudio. I am sure Bob himself would be impressed. Last but definitely not least Adam Zelakso playing Nick Massi was the quite one but delivered a surprising end performance and I am glad he didn’t start his own band. Adam will also be appearing in Clint Eastwood’s film adaptation of this play, though in a different role, which comes in this June in theaters (and I will be first in line for this movie). I also never knew that THE Joe Pecsi was involved with crew, you learn something new everyday.

Let’s get back to the music now. Oh the music…so many amazing tracks sung during this show. If you are a Frank Valli and the Four Seasons fan how can you not be screaming along from your seat to hits like “Big Girls Don’t Cry”, “Walk Like A Man”, “Sherry”, “Earth Angel”, “December 1963 (Oh, What A Night)”, “Can’t Take My Eyes Off You”, “My Eyes Adored You”, “Rag Doll” and “Bye Bye Baby”, which like always hits me very hard. Such beautiful music. Such wonderful talent. This is a show that is not to be missed.

“Jersey Boys” will continue at Bob Carr Performing Arts Centre through April 27th, 2014 (click here for tickets) and see below for future dates from the National tour.

Orlando, FL
April 15 – 27, 2014

Knoxville, TN
April 29 – May 4, 2014

Cleveland, OH
May 6 – 18, 2014

Sioux Falls, SD
May 21 – 25, 2014

El Paso, TX
May 28 – June 1, 2014

Fort Worth, TX
June 3 – 15, 2014

Tucson, AZ
June 17 – 22, 2014

Costa Mesa, CA
June 24 – July 13, 2014

San Jose, CA
July 15 – 20, 2014

Tempe, AZ
July 22 – August 3, 2014

Los Angeles, CA
October 1 – 19, 2014

San Diego, CA
October 21 – 26, 2014

Sacramento, CA
November 5 – 22, 2014

Reno, NV
November 25 – 30, 2014

Author: Alexandro Jodorowsky
Illustrator: Juan Gimenez
Hardcover: 544 pages
Publisher: Humanoids Publishing
Relesae Date: November 13, 2012

Our Score: 5 out of 5 stars

“The Metabarons” is the cult classic spin-off science fiction comic series from Alexandro Jodorowsky’s own cult classic series “The Incal”. The Ultimate Collection brings together this epic multi-part, multi-generational space opera that follows the Castaka Clan as their family rises to fame as the galaxy’s greatest warriors, the Metabarons. I recently feel in love with Alexandro Jodorowsky’s work after watching “Jodorowsky’s Dune”, which is an outstanding documentary on Alejandro’s failed film adapation of Frank Herbert’s novel “Dune” back in to the 70’s. Like “The Incal, “The Metabarons” is also heavily influenced by Frank Herbert’s “Dune” novels and includes aspects from Jodorowsky’s “Dune” as well. Again, if you are a sci-fi fan looking to discover something new or re-discover this cult classic, I highly recommend checking out this amazing collection.

Official Premise: A must-read cult spin-off of “The Incal,” by Moebius and Jodorowsky, centering around the fascinating lineage of the ultimate warrior. This collection introduces the Metabaron’s bloodline and reveals the origins of their deep-seated principles. Find out the source of the family’s vast wealth, learn why every Metabaron has cybernetic implants, and why the only way to become the next Metabaron is for him to defeat his own father in a mortal combat. Follow each successive generation as it struggles to overcome the forces amassed against it in a galaxy corrupted by greed, power, and terror. A true classic in the pantheon of graphic storytelling and Science Fiction as a whole.

Humanoid honestly does not mess around with their releases. This book is absolutely gorgeous and runs nearly 550 pages long at almost 2″ thick. No question, this is one of the most impressive comic releases that I have recently seen. If you’ve seen the film “Jodorowsky’s Dune”, and if you haven’t I HIGHLY recommend it, you will know that Alexandro developed a “book” for the film which includes the complete script wrapped around storyboards drafting out literally every scene and every character. There were originally only a handful of these made at the time but no only one or two are left. I believe that if Alexandro was ever to release that book to the world (which he really should), Humanoid would be the only company that would be able to do it justice. Just sayin’

The stories in this collection are so interesting and thought provoking. I really have a deeper appreciation for Jodorowsky’s work. This plays out like a space opera that is side acting as a futuristic Greek tragedy production. So there is a lot going on and it is so well tied together and delivered. The original French comics were reproduced in English in their original format. “The Metabarons Ultimate Collection” includes “Othon & Honorata”, “Aghnar & Oda”, “Steelhead & Doña Vicenta”, “Aghora & The Last Metabaron” plus two bonus short stories, “The Crest of Castaka” and “The Incal’s Dream”. So you get the works with this collection. If you are looking to get sucked and spit out by this incredible space opera, than I cannot recommend “The Metabarons” any more. I can’t wait to check out Humaoid’s release for “After the Incal” and “Final Incal” next.

Author: Alexandro Jodorowsky
Illustrator: Moebius
Hardcover: 308 pages
Publisher: Humanoids Publishing
Release Date: June 29, 2011

Our Score: 5 out of 5 stars

After watching “Jodorowsky’s Dune”, which is an outstanding documentary on Alejandro’s failed film adapation of Frank Herbert’s novel “Dune” back in to the 70’s. What I did learn from that film was that Alejandro Jodorowsky was still able to bring some of his vision from his work on that film to life in the medium of comic books. “The Incal” is the first in a series of science fiction comic books written by Alejandro Jodorowsky and illustrated by Moebius. Jodorowsky’s work was so powerful and immense that his world created in these books we referred to as, a fictional universe, “Jodoverse”. These comics were originally written in French only, so thanks to Humanoids for bringing them to the US and keeping Jodorowsky’s vision alive and going strong. This is a must buy for any sci-fi fan.

Official Premise: John Difool, a low-class detective in a degenerate dystopian world, finds his life turned upside down when he discovers an ancient, mystical artifact called “The Incal.” Difool’s adventures will bring him into conflict with the galaxy’s greatest warrior, the Metabaron, and will pit him against the awesome powers of the Technopope. These encounters and many more make up a tale of comic and cosmic proportions that has Difool fighting for not only his very survival, but also the survival of the entire universe.

If you are unfamiliar with Alexandro Jodorowsky, you will most likely recongnize this work including cult films like “El Topo”, “Santa Sangre” and “The Holy Mountain”. Moebius is an internationally acclaimed illustrator endless amounts of graphic novels. He is also a film designer for films like “Alien” and “The Fifth Element”. Obviously you can see why the collaboration worked so well between these two. This project was spawned after a seven-year collaboration by Alejandro Jodorowsky and Moebius dating back to between 1981 and 1988. The collection includes all six stories including “The Black Incal”, “The Luminous Incal”, “What Lies Beneath”, “What Is Above”, “The Fifth Essence Part One: The Dreaming Galaxy” and “The Fifth Essence Part Two: Planet DiFool”

“The Incal” is a strange and crazy French space opera mixed up with metaphysics and satire. The new Humanoids release came as a very sharp hardcover. It restored the original colouring and removed the censorship on the nudity. Humanoids also restored Jodorowsky’s “The Metabarons”, “After the Incal” and the last “Final Incal” comes out later this year in English. What I really enjoyed about this work is that you can’t just read this comic and look at the colorful pictures. It requires intelligence to be able to understand and really appreciate it. You have to experience each word of his very influential text. It is extremely cinematic and nothing like any other comic developed during its time.

“War Horse”
April 1, 2014
Music Hall
Kansas City, Missouri

Our Score: 5 out of 5 stars

It was an incredible evening in Kansas City this week when the Tony Award winning play “War Horse” rode triumphantly into the Music Hall for a one week engagement.

Based on the popular children’s book of the same name by Michael Morpurgo (adapted for the stage by Nick Stafford, the play was also the basis for the very successful Steven Spielberg-helmed film from 2011.

The play begins in August 1912 in England. A horse auction is about to commence. In a bidding war between the Narracott brothers – well-to-do Arthur (Andrew Long) and down-on-his-luck Ted (Gene Gillette). As the two go at it, they drive the price to more than three times the usual. Ted wins but he must spend the mortgage money on the creature. What’s worse, while Ted was looking for a plow horse, he has come home with a hunter. He entrusts the care of the horse to his son, Albert (Michael Wyatt Cox). Albert names the horse “Joey,” and with love and kindness, the two bond. Soon, young Joey is a majestic steed…rearing up in joy when Albert is near. It is a bond that will continue to hold, even when separated by war.

Winner of 5 Tony Awards (and a special Tony for it’s remarkable puppetry), including Best Play, “War Horse” is a show that you will remember forever. Not only for its great cast and outstanding set design, but for the amazing work of the South African Handspring Puppet Company. What they have created is nothing short of miraculous. Life size horses gallop and play on the stage, guided not only by the puppeteers inside the creation but the one guiding the head as well, capturing the very essence of movement and grace. With the “handlers” dressed as others in the cast, they blend in so nicely that one can easily begin to believe the horses are real.

As the story progresses over six year, Joey learns to do things he wasn’t intended to and uses those skills to not only help himself but to save the lives of those around him. He is truly the star of this production and I can’t tip my hat enough to the artists that bring him, and the other horses, to life. The human actors also do a great job. As Albert, Cox displays just the right amount of wide-eyed innocence that is slowly lost as he goes off to battle in an effort to search for his friend. Both Long and Gillette portray the conflict between the two Narracott brothers sharply. Yes, there is some anger and animosity there, but underneath there is love. Others who deserve special notice include Maria Elena Ramirez as Albert’s mother, Andrew May as a German officer who soon understands the horror of war and Caden Douglas as the hard charging Captain Stewart. And I would be remiss if I didn’t mention the cast that brings Joey to life: Jon Hoche, Brian Robert Burns and Jessica Krueger. Bravo!

“Once” National Tour
January 28th – February 2nd
Bob Car Performing Arts Centre
401 West Livingston Street
Orlando, FL 32801-1413

Our Score: 5 out of 5 stars

Before “Once” was such a big deal and became an Academy Award winning film (for Best Song “Falling Slowly” in 2007), I was already a huge fan of the film and its music. When the show was produced as a stage play on Broadway, I thought that it couldn’t have made a better fit for that format. And not surprisingly it ended up winning eight 2012 Tony Awards including Best Musical. Living here in Orlando, FL sometimes it can be harder to catch Broadway’s best but luckily we have the treasure that is Bob Car Performing Arts Centre, which delivers the best of Broadway right in the center of city of Orlando. When the national tour dates were announced for “Once”, I couldn’t have been more excited.

I have had the privilege of interviewing both leads in this touring play, Stuart Ward and Dani de Waal (click on their names for respective interviews). They are really talented and do great justice to this beautiful piece of work. They add something special and unique to each of the songs, which I instantly fell in love with. I have been listening to the “Once” soundtrack consistently since 2007 and only to be slightly replaced with the 2012’s Broadway Original Cast Recording. So I am not only a fan but I feel like this music speaks to me on a much deeper level. When I was listening (and singing along) during this play, I feel like they really nails these tracks and delivered the soul that would be expected from Glen Hansard and Marketa Irglova.

“Once” is quite the stage experience and features a very impressive ensemble of actor/musicians who play their own instruments onstage. The supporting cast to this play are also outstanding and really wrap up the show with a red ribbon. High regards go out to Evan Harrington, who plays Billy, for a particularly great performance. Prior to the show starting, you were able to get up on stage and walk around to feel like you are a part of the show. The cast then came out and started just riffing and playing fun music for the audience to enjoy. Ray Bokhour, who played Da, had a really beautiful and touching go at the song “On Raglan Road” and hang the audience near tears. When the show did start it blended in so well from the pre-show that if you didn’t know the music, you wouldn’t have even realized it started.

The set was extremely simple and has no changes besides the enter/exit of some chairs and music equipment. Pretty much the whole cast is on the cast throughout the whole show playing along with their instruments and adding to each of these wonderful songs. The story itself if you are not familiar follows a Dublin street musician who is about to give up on his dream when he meets a beautiful young woman who encourages him to keep going and do something with his songs. The two get closer overtime and work on their music… but this isn’t your fairy tale romance as events become much more complex in their time together. I cannot recommend this play any higher. It is emotionally gripping and will leave you hanging on to every note of its beautiful music. Congrats to the national tour cast since they simply nailed it.

Click here to purchase tickets during the show’s stop in Orlando and also be sure to check out the schedule for the remainder of the national tour!

Miami, FL (The Adrienne Arsht Center)
Feb. 4 – 9, 2014

Tampa, FL (Straz Center)
Feb. 11 – 16, 201

Fort Myers, FL (Barbara B. Mann Performing Arts Hall)
Feb. 18 – 23, 2014

New Haven, CT (Shubert Theater)
Feb. 26 – March 2, 2014

Atlanta, GA (Fox Theatre)
March 4 – 9, 2014

Pittsburgh, PA (Benedum Center)
March 11 – 16, 2014

Rochester, NY (Auditorium Theatre)
March 18 – 23, 2014

Buffalo, NY (Shea’s Performing Arts Center)
March 25 – 30, 2014

Minneapolis, MN (Orpheum Theatre)
April 1 – 6, 2014

St. Louis, MO (The Fox Theatre)
April 8 – 20, 2014

Des Moines, IA (Civic Center of Greater Des Moines)
April 22 – 27, 2014

Tempe, AZ (ASU Gammage)
April 29 – May 4, 2014

Denver, CO (Buell Theatre)
May 6 – 18, 2014

Las Vegas, NV (Smith Center for the Performing Arts)
May 20 – 25, 2014

Seattle, WA (The Paramount Theatre)
May 27 – June 8, 2014

Portland, OR (Keller Auditorium)
June 10 – 15, 2014

San Francisco, CA (Curran Theatre)
June 17 – July 13, 2014

Los Angeles, CA (Pantages Theatre)
July 15 – Aug. 10, 2014

San Diego, CA (Civic Center)
Aug. 12 – 17, 2014

Costa Mesa, CA (Segerstrom Hall)
Aug. 19 – 31, 2014

Charlotte, NC (Blumenthal Performing Arts Center)
Sept. 30 – Oct. 5, 2014

So, here we are in 2014. Hopefully, we’ll see more of the awesomeness that we saw in 2013 in comic books, as some seriously cool stuff came out. However, there is always the other side to things; some companies made some horrible errors and some obvious ‘money grabs’. Let’s take a gander, shall we?

DC Comics:

Oh DC…it was going so right, where did it go wrong?? Last year saw the reboot of DC with the New 52, which was pretty damn awesome. As with most reboots, all the industry’s best writers and artists were invited to the party, including Jim Lee re-envisioning the Justice League, which was hands down one of the most fun books to read at the time (and I never really liked the Justice League). All of the Bat-Books that came out were so good that I actually didn’t mind having to read multiple books about the same character (something that started in the 80s & exploded in the 90s and has been a major annoyance for me ever since…at one time I remember there being something like 7 or 8 Spider-Man books and the same number of X-Books all coming out at the same time…ugh, there’s only so much story people). I was even getting excited about Action Comics and Supergirl for a few issues, and I absolutely hate the Superman family of books!!

But alas, it all came crashing down. First, they did the unthinkable. They turned 3 or 4 of their most hidden gems, the Coup-de-Villes at the bottom of the Cracker Jacks box, over to Rob Liefeld. WHAT??? ARE YOU KIDDING ME?? DON’T YOU REMEMBER WHO THIS GUY IS?? So, what were once gritty and hard-hitting titles, like “Deathstroke,” “Hawk & Dove,” “Hawkman” and Grifter… all fun reads with outstanding art, became Liefeld strokefests and turned to utter crap, just like everything he’s ever done!! History repeats itself…duh! Then they pulled some of their better writers and artists off of the minor books, such as “Voodoo,” “Stormwatch” and “Captain Atom,” all higher-brow reading with compelling stories that actually made you think about life and existence and such, because they were minor books (even though they were becoming majorly awesome because of those creators) to play shuffle around with the bigger books. Cliché alert…if it ain’t broke…!!!

And then came the villain month money grab…I’m sorry, I mean crossover…which was the downfall of the New 52. Half of the books were just horrible re-hashings of origins, some of the villains were in books that they weren’t even the villains of (such as Ventriloquist in “Dark Knight,” even though they had just revamped the character and introduced her in “Batgirl”). What could have been amazing fun (all the heroes are gone, let the villains play), became the biggest let down in comics of the time. Even the best villain ever, The Joker, was just craptastic. Instead of letting him run rampant, which would have been amazing, they retold an old campy story about his pet gorilla, even though they had just finished one of the darkest Joker storylines ever, including a Joker who was running around with his “face” as a flesh mask that barely hung from his head!! And I won’t even mention the hologram covers and all the supposed shortages that happened…

Then the Zero Year debacle happened, forcing all of the Bat-books to tell the story that the editor wanted told. By this point, there were so many crossovers happening that creators were walking away from the books that they were making incredible because they were being restrained by editorial whims. Once again…REALLY DC?? REALLY?? HIRE BOB HARRAS,THE GUY WHO SINGLE HANDEDLY WRECKED THE X-UNIVERSE IN THE 90S??? Again, DC…don’t you remember these people and what they did. Why hire them when you were doing just fine?!?!

It wasn’t all bad though!! Thankfully, we did see some incredible stuff come out of DC. Scott Snider’s “Batman” stories continue to enthrall readers. “Batgirl” was truly wonderful as she became a renegade running from her own father, Commissioner Gordon. “Batwoman” was awe-inspiring with beautiful illustrations by JH Williams III and killer stories about supernatural villains and dark family secrets. “Swamp Thing,” “Aquaman” and “Earth 2” continue to be the most consistent and well-written stories with killer art and brilliant subtle humor.

To come full circle, DC did produce perhaps the best comic story I’ve read in years, “Injustice: Gods Among Us.” Just simply & truly amazing. Superman goes from a helpless lovesick fool who has no idea how to deal with the Joker (who tricks him into then killing Lois Lane) to a killer and militant totalitarian leader of the world, and Wonder Woman couldn’t be happier. In herown words, “I was waiting for this.” Of course, Batman is leading the resistance. With twists and turns that rock the entire DC universe, including a Harley Quinn who acquires powers, this book is just simply brilliant!!

Next time, the ‘Independents’ and how they are currently ruling the comic industry.

Bear Wolf owns and operates the New Game in Town stores in Kekalb and Dixon, Illinois

Stuart Ward is currently touring North America with the touring company of the hit Broadway show “Once”. Stuart is no stranger to the show “Once” as he was in fact the understudy for the role of “Guy” in the West End production of the show. Media Mikes got a chance to chat with Stuart about “Once” and him role during their stop in Philly in their 29 city tour which runs until October 2014.

Mike Gencarelli: How did you come on board with “Once” for its North American tour?
Stuart Ward: I actually was a part of the London cast of the show. I was a cover for the role of Guy. I missed out on the casting since I was on another job in Australia touring with the singer Cliff Richard. No one knows him in the US but in England he is a bit of a rock pop legend. 73 years old and he is still rocking out! So I was in Australia playing the Syndey Opera House and other great venues with him, so when I got back the show was all cast. I got a call asking if I would be interested in the understudy part and to be quite honest I really wasn’t. But they kept asking and I thought even if I get to do think just once – [laughs] there you go “Once” – it would be worth it and I would be happy. So I took it and then the day after I went on for the very first time, I got a call asking if I would be interested to play the lead in the US tour. My jaw hit the ground and I screamed a resounding “Yes”!

MG: So you are currently in Philly, tell us how the tour has been going so far?
SW: It is going great. We are just kind of settling down now. To be honest, when we were in Providence we were still working on the show and cleaning it up a bit. Then we got to Chicago and we were filming b-roll and doing recordings, so it was busy. So now in Philly it is settling down. I have had some time to explore the city and I ran up the Rocky steps [laughs]. The video is actually on my Twitter. I couldn’t help myself [laughs].

MG: What are some of the other cities that you are looking forward to hitting?
SW: I was actually looking forward to visiting Chicago. When we got there it didn’t let down at all. It had such an incredible vibe about the place. It was a bit like New York but a bit more laid back and chill. I am looking forward San Francisco as well, since it has a similar laid back vibe. I am looking forward to Florida since my mom and dad are coming down for that. I miss them hugely, so I am looking forward to getting them down. Honestly though, I am excited for all of them since I have never been to these cities before in America. So I am taking it a city at a time and having a blast!

MG: What do you use for inspiration to get you into the role each night?
SW: There is a remarkable amount of similarities between me and the character, so it doesn’t really take that much. Sometimes when you are playing a role, I think it is important to bring a part of yourself to it otherwise you are just lying. You have to have some truth in there. Usually it is 30% you and 70% your character that you built. But for this role it is actually like 90% is already there for me. I am a songwriter myself and I can relate to this character. I feel like I am actually playing my own songs out there. They all sit perfectly in my voice. It is quite easy for me to get into it.

MG: Tell us about the chemistry you have with co-star Dani de Waal?
SW: It is massive. I was so worried when I came over here because I didn’t meet her until the first day of rehearsals. I thought that 98% of my stage time is with this girl and I was thinking “God, what if she is terrible?” [laughs] I have been so lucky because she is really wonderful. She has this fantastic quality about her that fits the role of Girl so well. It is like a non-descriptive energy that is so great to play off. I feel quite blessed to have her as my Girl. It would be a horrible experience if she didn’t have all these amazing qualities but she is just fantastic.

MG: What is your favorite song to perform with the show?
SW: It is torn between two songs but think it has to be “When Your Minds Made Up”. I just think that that moment is when everything comes together and completes what they have worked for in the play. He just nails it in the studio the first time around. I always feel like he has that performance in his mind for three or four years and he is just waiting to be unleashed. I just love that moment. Not just performing that song, even when watching it, I just love the moment when he has become a songwriter – a rock star if you like.

MG: How has the show changed for you having watched it and now being the lead of it?
SW: What is great about this show and the whole creative team, is that they never wanted a copy of what has been done before. I have never had this happen before when going into a role that someone else has done. Usually you stand at the mark, turn right and say your lines. With the creative team here, they didn’t want any of that and they wanted us to make our own production of it. They approached the show like it was never done before. Half of the blocking is different and all the costumes are different. So the bare-bones of the show is the same but it is our completely own version. You will notice the differences when you come see it and if have seen the show before.

Here is the rest of the tour schedule! Check it out when it comes to a city near you!

Cleveland, OH (Playhouse Square)
Nov. 12 – 24, 2013

Toronto, ON (Royal Alexandra Theatre)
Nov. 26, 2013 – Jan. 5, 2014

Boston, MA (Boston Opera House)
Jan. 7 – 19, 2014

Durham, NC (Durham Performing Arts Center)
Jan. 21 – 26, 2014

Orlando, FL (Bob Carr Performing Arts Centre)
Jan. 28 – Feb. 2, 2014

Miami, FL (The Adrienne Arsht Center)
Feb. 4 – 9, 2014

Tampa, FL (Straz Center)
Feb. 11 – 16, 201

Fort Myers, FL (Barbara B. Mann Performing Arts Hall)
Feb. 18 – 23, 2014

New Haven, CT (Shubert Theater)
Feb. 26 – March 2, 2014

Atlanta, GA (Fox Theatre)
March 4 – 9, 2014

Pittsburgh, PA (Benedum Center)
March 11 – 16, 2014

Rochester, NY (Auditorium Theatre)
March 18 – 23, 2014

Buffalo, NY (Shea’s Performing Arts Center)
March 25 – 30, 2014

Minneapolis, MN (Orpheum Theatre)
April 1 – 6, 2014

St. Louis, MO (The Fox Theatre)
April 8 – 20, 2014

Des Moines, IA (Civic Center of Greater Des Moines)
April 22 – 27, 2014

Tempe, AZ (ASU Gammage)
April 29 – May 4, 2014

Denver, CO (Buell Theatre)
May 6 – 18, 2014

Las Vegas, NV (Smith Center for the Performing Arts)
May 20 – 25, 2014

Seattle, WA (The Paramount Theatre)
May 27 – June 8, 2014

Portland, OR (Keller Auditorium)
June 10 – 15, 2014

San Francisco, CA (Curran Theatre)
June 17 – July 13, 2014

Los Angeles, CA (Pantages Theatre)
July 15 – Aug. 10, 2014

San Diego, CA (Civic Center)
Aug. 12 – 17, 2014

Costa Mesa, CA (Segerstrom Hall)
Aug. 19 – 31, 2014

Charlotte, NC (Blumenthal Performing Arts Center)
Sept. 30 – Oct. 5, 2014

Theater captures the spirit of Frank Capra’s cinematic classic

Orlando, FL – Orlando Shakespeare Theater in Partnership with UCF warms Central Florida audiences with the holiday cheer of Joe Landry’s It’s a Wonderful Life: A Live Radio Play. Performed as a 1940s live radio broadcast and directed by Florida Rep’s founding Producing Artistic Director, Robert Cacioppo, It’s a Wonderful Life: A Live Radio Play begins December 4 and runs through December 29, 2013 at the John and Rita Lowndes Shakespeare Center in Loch Haven Park. Tickets ($17-$40) may be purchased by calling the Box Office at (407) 447-1700 or online at http://orlandoshakes.org.

Inspired by Frank Capra’s beloved American film, Orlando Shakes’ It’s a Wonderful Life: A Live Radio Play includes a five-member ensemble that brings to life a dozen familiar characters performed in the style of a 1940s live radio broadcast. Complete with commercial jingles and man-made sound effects, audiences will fall in love all over again with the selfless George Bailey and the gentle angel who saves his life on Christmas Eve. A holiday classic suitable for the entire family!

“It’s a Wonderful Life: A Live Radio Play is a joy for audiences young and old,” said Director Robert Cacioppo. “I am thrilled that Orlando Shakes’ Artistic Director Jim Helsinger offered me the opportunity to revisit this play with a truly wonderful cast.”

Cacioppo, who previously directed the production at Florida Rep in 2011, will be recreating his elaborate pre-show prologue in Orlando. Prior to the performance, theatergoers will take part in a holiday sing-along amongst busy telegram boys, popcorn girls, and 1940’s paparazzi. ”I urge Orlando audiences to show up early, because that’s when the fun begins!”Cacioppo said.

It’s a Wonderful Life: A Live Radio Play features actors Brad DePlanche, David Edwards, Duke Lafoon, Suzanne O’Donnell, and Piper Rae Patterson. Secondary performers include Anachebe Asomugha, Sophie Bell, Bridgette Hoover, Chris Metz, Alexander Ross Neal, Jeffrey Todd Parrott, and Seth Wallen. The creative team includes Scenic Designer Richard Crowell, Costume Designer Mel Barger, Lighting Designer Mary Heffernan, and Sound Designer Britt Sandusky.

PERFORMANCE INFORMATION AND RELATED EVENTS

PRE-SHOW CHAT
Join us in the Patron’s Room on December 6 at 6:45 p.m. for a brief, informative discussion with the director and members of the artistic team about the creative process.

OPENING NIGHT PARTY
Directly following the show on December 6, audience members are invited to celebrate with the cast, crew, designers, and Orlando Shakes staff at the Opening Night Party. The party begins after the show (approx. 10 p.m.) and everyone is invited. No RSVP necessary.

PLAYSHOP
School-age children can participate in a fun and creative camp during select Orlando Shakespeare Theater performances. Led by Orlando Shakes Actor/Educators, theatergoers’ children ages 5 to 12 will enjoy supervised arts and crafts, play educational games, and maybe even learn a song or dance. For It’s a Wonderful Life, the service is available to all ticket buyers on Sunday, December 15, 2013 at 2 p.m. for just $15 per child. Advance registration is required. Call the Box Office at (407) 447-1700 for tickets and information.

THURSDAY TALK BACK
Stay after the performance on Thursday, December 19 for an informal Q & A with the cast and members of the design team.

ADDITIONAL PERFORMANCE INFORMATION
Preview Dates: December 4 & 5 at 7:30 p.m. ($18)
Opening Date: December 6 at 7:30 p.m.
Senior Matinees: December 11 & 18 at 2 p.m. ($17)
$20 Under 30: December 13 at 7:30 p.m. ($20)

TICKET INFORMATION

DATES AND PRICES
Wednesday and Thursday at 7:30 p.m.; Sunday at 2 p.m. – all seats $35, $30, $20
Friday and Saturday at 7:30 p.m. – all seats $40, $35, $30

DISCOUNTS
Group Sales: 20% off groups of 10+
Student Rush: $12 – 30 minutes prior to show w/ valid student ID
Military/Student Price: $10 off single ticket prices
Single and Season Tickets are available by calling (407) 447-1700, online at http://www.orlandoshakes.org, or in person at the Box Office located inside the Lowndes Shakespeare Center, 812 East Rollins Street in Orlando’s Loch Haven Cultural Park.

It’s a Wonderful Life: A Live Radio Play is made possible through the generous support of Holland & Knight, LLP, Raymond James Financial, and Florida Hospital. Orlando Shakespeare Theater in Partnership with UCF is supported by United Arts of Central Florida with funds from the United Arts collaborative campaign and by State of Florida, Department of State, Division of Cultural Affairs, and the Florida Arts Council.

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PHOTOGRAPHY CREDIT

Publicity photos feature actors Brad DePlanche, Suzanne O’Donnell, and Piper Rae Patterson. Photos by Landon St. Gordon.

ABOUT ORLANDO SHAKESPEARE THEATER

Now celebrating its 25th Anniversary Season, Orlando Shakespeare Theater in Partnership with UCF has grown into one of the region’s most acclaimed Equity theaters producing classic, contemporary, and children’s plays. Under the leadership of Artistic Director Jim Helsinger and Managing Director PJ Albert, Orlando Shakespeare Theater continues to provide an innovative world-class theatrical experience to its patrons, while showcasing William Shakespeare’s legacy as the cornerstone of the company. Through PlayFest and Harriett’s New Play Series, Orlando Shakespeare Theater has garnered national recognition for the development of over 100 new works within the past 10 years. Orlando Shakes also provides immersive educational programming serving Central Florida schools and the local community at large.

Twitter: @orlandoshakes or http://www.twitter.com/orlandoshakes
Instagram: @orlandoshakes or http://www.instagram.com/orlandoshakes
Facebook: “Orlando Shakes” or http://www.facebook.com/orlandoshakes

Vlad Yudin is a Russian born writer, director, producer, who started his film career with films as “Big Pun: The Legacy”, and “The Last Day of Summer” which starred Nikki Reed of “Twilight fame”, and DJ Qualls from “Road Trip”.  Vlad has just made his move in to the realm of graphic novels with his book “Headsmash”.  A story of betrayal and revenge set in a fictional yet violent world. Media Mikes caught up with Vlad after his successful appearance at this year’s New York Comic Con to discuss the book as well as some of his other current projects.

Adam Lawton: Can you give us some background on “Headsmash”?
Vlad Yudin: “Headsmash” is the story of a young orphan super sent to live in the worst orphanage in this fictional which is run by various mod syndicates with the largest one being the Horde. The Horde has infiltrated every aspect of the city and has pretty much control of everything. Smash ends up being adopted by Maurice who is the head of the Horde and groomed to be one of the group’s top lieutenants. While out on a mission Smash is attacked and basically left for dead. Upon surviving the attack and returning to the city Smash finds out that his wife has been taken along with their unborn son who plays an important role in the story. In order to save his family Smash starts taking this special serum which helps him on his quest for revenge.

AL: How did the idea for the book present itself?
VY: It was a combination of things. Sometimes when you start on a story you might have the basic story line happening and then you build in the characters and other times you have a character in which the story is centered around. In this case we had the character of Smash so we constructed everything around him. Each twist the story takes is directly related to his character.

AL: The book has a trailer which is narrated by Bill Paxton. How did he become involved in the project?
VY: We did a three part prelude/trailer which sets up the story. One part talks of the prophecy, one part talks about the serum and the last talks about Maurice and Smash’s relationship. Bill narrated this story playing the character of Maurice. Bill Paxton is an amazing actor and it was really cool to bring him in to this role as a villain. I don’t think he is someone seen in this type of role. He has this great voice and did a really great job. Bill got in to the character and took it very seriously which was great to see.

AL: Can you tell us about the talks of this story becoming a film?
VY: We have just finished writing the screen play version. The story is going to be pretty much the same but there were a few things that we need to adapt to make it work on screen. We are taking our time with and hope to have it into production sometime next year.

AL: Do you find any similarities between graphic novel writing and script writing?
VY: Yes. When you create a graphic novel you essentially are creating story boards. You have to take in consideration the shot in the same you do when you are working off a shot list for a film. The way you construct a scene before its captured on film is very similar to how you would when writing a graphic novel.

AL: Can you tell us about some of the other projects you have in the works?
VY: I am happy to say that our film “Generation Iron” which is a film about modern day body building is currently playing in theaters both here in the States and also in Canada. This film is basically the follow up to the 1975 film “Pumping Iron” which was produced Jerome Gary who also produced this new film. The film is doing great and I hope people continue to go see it.

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