Musician J.D. King Discusses His New Album “Moon Gardens”

Musician, Songwriter, Producer and Artist J.D. King has just released a new album titled “Moon Gardens”. Painstakingly recorded over three years on reel to reel analog equipment the album showcases Kings multitude of talents while being backed by an impressive stable of musicians all acting as intricate pieces within this audiophiles dream. Media Mikes had the chance to speak with King recently about the creation of the album, his decision to use only analog equipment and his plans for performing this material live.

Adam Lawton: Can you give us some background on the work that went into “Moon Gardens”?

J.D. King: After I had come off of the Olms project I was doing with Pete Yorne I started really getting in to the use of analog equipment. I wanted to make a 60’s style record the way they did back then. I was studying how album like the Beatles “Revolver” was made and albums like that. We did all the recording via analog and mixed it on tape as I wanted everything to sound just as it would as if it were recorded in the 60’s. I was meditating around eight hours a day and during that time I came up with all these song concepts. I had a good amount of vintage gear to start but then I acquired some more and found a few engineers who could mix on tape in the style that I was going for. We mixed everything live so that was another challenge we were working with as someone basically had to be turning knobs as we were performing. On the song “The Wooden Man” there is a panning part where the engineer was working the panning effect while I was turning some other knobs. With this record I wanted everything to come from the best place it possibly could. Every ingredient had to be the very top. From the musicians, the gear and the performances themselves I wanted the best.

AL: What was it about the 60’s era of recording that captured your interest?

JDK: I am a huge record fan. Even before all this quarantine stuff I would sit with a stack of records and just listen to music all day. I would even listen to some stuff on reel to reel. I never got a good feeling from digitally recorded music. It is less biological to me. I enjoy hearing over tones in music which is something generally missing from digitally recorded music. Honestly I think engineering from those eras was so much better and the standards were much higher.

AL: Working with older equipment did you run into any issues?

JDK: Sometimes we would have gear go down and it wouldn’t just be a simple fix like going to the store and getting a new one. Some of the gear we were using was from as far back as the 1930’s. When a pre-amp or something would go down during the middle of a session we would have to stop and take the time to find someone who was skilled in working on that type of equipment. This did cause some challenges from time to time.

 AL: You worked on this album for three years. Did the writing process take up a majority of that time or was it more from the high level of production you were going for?

JDK: I would generally get my group of session’s guys together once a month to jam and record. The rest of the time I was learning and experimenting with the engineering process as well as writing. I was working basically non-stop. I was wearing a lot of different hats and just had to figure all that stuff out. I think for the most part the time between the two was pretty equal. There were a lot of new things with this record both musically and technically. I wanted to expand and try some new things.

AL: At what point in time did you decide that the record was completed?

JDK: I think right around when I had twelve or thirteen songs. I felt things were rounded out and was happy with what I had. I think when people listen this in an album format it is going to really click. I am an album rock fan and I think that’s was I was able to do with this.

AL: Being that you play quite a few instruments how did you decide which ones you would play and on which tracks?

JDK: I would put the bones of each track down first. From there we would start rehearsing it and bringing the track to life. While doing that I would hear these things that I wanted to add as did the guys I was playing with. Stuff tends to happen in the studio while you are working.

AL: Did you find your creative process changed at all over the course of this record?

JDK: Things stayed pretty much the same for me as they always have been. If you listen to my first record I had a pretty big hand in the production of that record even though it was my first one. Every band I was playing in I always had this ear towards production. Pete (Yorn) is the same way. I learned a lot from him. We tried to work very fast over the course of this record. I have to give to those guys in the sixties as they had to bring their A games. You didn’t want to miss a take as you were recording directly to tape which was expensive. We had a couple tape issues which caused us to have to scrap a couple really good takes. I learned my lesson from that.

AL: With the current pandemic changing a lot of the way things are being done what are your plans to help get this music out to the public given the traditional in-person/live element of music is indefinitely on hold?

JDK: I am kind of lucky in that I learned so much about performing in a studio during this record. It was something you had to do. Having a background in photography I know about lighting and all those things as well so production comes simple for me. Being essentially a one man production crew I can throw up a few cameras and lights and I am set to go. I did a lot of painting over the winter so I can throw those up in the background as well and showcase a lot of my different talents. You can see a lot of what I have going on through my Instagram @mrjdking

Paper Mario: The Origami King brings a new angle to the Tetris 99 15th MAXIMUS CUP

This week, the Tetris® 99 game on the Nintendo Switch system collides with the comedy-filled Paper Mario ™: The Origami King game for the Tetris 99 15th MAXIMUS CUP event. Don’t fold when the Tetriminos fall down your screen! While Paper Mario jokes never fall flat, you’ll always want to remain the last player standing in Tetris 99.

The Tetris 99 15th MAXIMUS CUP event runs from 12 a.m. PT on July 31 to 11:59 p.m. PT on Aug. 3. To participate, you’ll need to be a Nintendo Switch Online member* and play the Tetris 99 online mode during the event period. You’ll earn event points based on your placement in each match. Once you’ve secured a total of 100 event points, a new theme will unlock, featuring art, music and Tetrimino designs inspired by Paper Mario: The Origami King!

When battling foes in Paper Mario: The Origami King, it takes puzzle-solving prowess to line up enemies correctly and claim victory in front of an audience of cheering Toads. In Tetris 99 you’ll need to spin Tetriminos into the correct configurations to knock out all your competitors. In both games you’ll need to think quickly to impress the crowd! 

Tetris 99 features online competitive modes exclusive to Nintendo Switch Online members. You can also check out the best video slots online. Owners of the digital version of the game can purchase the optional Big Block DLC, which adds several offline modes, like CPU Battle and Local Arena. 

physical version of Tetris 99 is also available. For a suggested retail price of $29.99, the physical version includes the game, all DLC and a 12-Month Nintendo Switch Online Individual Membership.** Nintendo Switch Online members can enjoy online play and Save Data Cloud backup in a large selection of compatible games, along with access to growing libraries of classic NES and Super NES games, special offers and a smartphone app that enhances features of supported games.

For more information about all the benefits and services available with a Nintendo Switch Online membership, and to learn about the free seven-day trial, visit https://www.nintendo.com/switch/online-service/

*Nintendo Switch Online membership (sold separately) and Nintendo Account required. Persistent internet, compatible smartphone and Nintendo Account age 13+ required to use app. Data charges may apply. Online features, Save Data Cloud and Nintendo Switch Online smartphone app features available in compatible games. Not available in all countries. The Nintendo Account User Agreement, including the Purchase and Subscription terms, apply. nintendo.com/switch-online 

**Included Nintendo Switch Online membership will auto-renew at the end of 12 months.

Tetris ® & © 1985~2020 Tetris Holding. Tetris logos, Tetris theme song and Tetriminos are trademarks of Tetris Holding. The Tetris trade dress is owned by Tetris Holding. Licensed to The Tetris Company. Tetris Game Design by Alexey Pajitnov. Tetris Logo Design by Roger Dean. All Rights Reserved. Sub-licensed to Nintendo. Certain new content developed by Nintendo, and any characters, sounds and video games originally owned by Nintendo: © 2019 Nintendo. Nintendo Switch is a trademark of Nintendo. © 2020 Nintendo.

Film Review: “The King of Staten Island”

THE KING OF STATEN ISLAND
Starring:  Pete Davidson, Marisa Tomei and Steve Buscemi
Directed by: Judd Apatow
Rated:  R
Running time:  2 hrs 16 mins
Universal

Scott Carlin (Davidson) sits on the couch with some friends, enjoying their company.  One of them notices a tattoo on Scott’s arm and asks him the significance.  His attitude seems to change as he informs the questioner that the ink commemorates the day his father died.  Upset that she made have upset Scott, she begins to apologize, to which Scott and the others burst into laughter as if it’s no big deal.  “Knock, knock,” one of them says.  “Who’s there,” Scott queries.  “Not your dad!”

A dark comedy featuring an unexpectedly powerful performance from Pete Davidson, “The King of Staten Island” takes a look at a young man who is still struggling to understand the eternal question, “why?”  Based in part on Davidson’s own family experience – his father bravely died while attempting to rescue people inside the Marriott World Trade Center Hotel on September 11, 2001 – the film, which Davidson also co-wrote with director Apatow and Dave Sirus, is an often funny, sometimes tragic look at a life forever changed in a single tragic moment.

Scott, age 24, still lives at home with his mother, Margie (an excellent Tomei) and pretty much spends his days hanging out with his friends, smoking weed and trying to get a job as a tattoo artist.  Scott’s own body is covered in tats, some professional and others not-so professional.  Things change when, while partying with his friends in the woods a young boy wanders by.  He’s encouraged to join the group and even agrees for Scott to give him a tattoo.  Of course, as soon as the needle touches his skin he jumps up and runs away.  Soon the young man and his father are on Scott’s doorstep.  Dad is not angry.  Marcie tries to intervene but the man continues yelling.  When he asks to speak to Scott’s father he is informed that he is dead and this softens the man a bit.  When he returns later to apologize he asks Marcie out.  After 17 years Marcie has begun to live for herself again.  Scott is unhappy with the situation and even more so when he learns that Marcie’s new friend is a fireman.

As I noted earlier, “The King of Staten Island” rests squarely on the narrow shoulders of Pete Davidson.  I’ve found him funny on “Saturday Night Live” – though I can’t help but cringe when he tells 9/11 jokes – and expected him to be funny here.  But it’s the emotional journey Davidson takes that impresses.  Scott has a lot of pent up feelings – as I’m sure Davidson does – and when they are released the feeling is both terrifying and a relief.  Tomei, who appears to be aging in reverse like Benjamin Button, is also well cast here.  And I want to mention a great supporting turn by Steve Buscemi who plays a wizened fireman.  Buscemi was a New York City fireman before becoming an actor and, after 9/11, returned to his old firehouse to assist in searching the rubble at Ground Zero.

It’s mid-June and, even though Hollywood has slowed down a bit in light of the current world situation, there are still films that need to be seen.  “The King of Staten Island” is one of them!  “The King of Staten Island” is now available through Video on Demand.  

Album Review: Soundgarden “King Animal” 35th Anniversary Vinyl

“King Animal” 35th Anniversary Vinyl

Soundgarden

Republic Records

Producer: Adam Kasper/Soundgarden

2 LP’s

Tracks: 13

Our Score: 3 out of 5 stars

Soundgarden’s sixth and final album “King Animal” is the latest in a series in specially packaged re-releases from the platinum selling band which celebrates the groups 35 year career. Like the previous three releases from this series “King Animal” comes pressed on 180 gram colored vinyl and is packaged in full color, dual gate fold sleeves complete with album liner notes.

The final release from Soundgarden after the group’s reformation in 2010 “King Animal” picks up roughly where its predecessor “Down On The Upside” leaves off. Not it in theme but in stylistic approach as the album features a wide range of textures and sounds giving listeners a smorgasbord of musical ear candy to digest. The latest LP release comes pressed on double white/yellow marble 180 gram vinyl which gives the albums 13 tracks a balanced warmness as it plays through your speakers. Tracks like the rawkus “Non-State Actor” and the eerie “Bones of Birds” were personal highlights as were the fast paced “Attrition” and the fanatical thumping of “Eyelids Mouth”.

Being this is not the albums first vinyl treatment aside from the addition of 180 gram vinyl it doesn’t really offer anything that the previous release didn’t already provide. This seems to be a common occurrence with these anniversary releases as none of them have offered anything extra to help entice buyers to grab another copy. With the various bonus content that was made available previously from this release I think it would have been an ideal time to house it all under one nicely packed anniversary collection however, this was not the case. Don’t get me wrong re-releases can be a really cool thing and like the subsequent 3 the packaging is second to none however they really should have given fans a reason to purchase them and “King Animal” is no exception. If you have this release already you may want to skip this one however if you haven’t gotten yourself a copy and just want the core album with no fancy extras, Then grab this anniversary edition as you won’t be disappointed.   

Track Listing:

1.) Been Away Too Long

2.) Non-State Actor

3.) By Crooked Steps

4.) A Thousand Days Before

5.) Blood on the Valley Floor

6.) Bones of Birds

7.) Taree

8.) Attrition

9.) Black Saturday

10.) Halfway There

11.) Worse Dreams

12.) Eyelids Mouth

13.) Rowing

 

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Kansas City Theater Review: “Beautiful – The Carole King Musical”

  • BEAUTIFUL – THE CAROLE KING MUSICAL
  • Starlight Theater, Kansas City, Missouri
  • June 24, 2019

REVIEW BY J.R. DEETER

An amazing thing happened as I watched “Beautiful: The Carole King Musical” this past Tuesday evening at Starlight.  I realized that the songs being played had been some of my favorites, starting from childhood.

  Opening at Carnegie Hall, circa 1971, King (played beautifully by Sarah Bockel) sings “So Far Away,” which takes us back to the beginning of the story of the rise of one of pop music’s icons.  It’s 1958 and 16-year old Carole has found her way to the offices of one “Donnie” Kirshner hoping to sell him a song she has written.  Kirshner likes what he hears and signs her up.  He teams her with an aspiring lyricist named Gerry Goffin and soon the hits begin to flow.  Songs like “Take Good Care of My Baby,” “Will You Love Me Tomorrow,” “Up on the Roof” and “The Locomotion” are soon climbing the charts.  The partnership soon becomes much more and King and Goffin marry. 

But they weren’t the only ones toiling in the Brill Building.  We also meet Barry Mann and Cynthia Weil, who created such hits as “Walking in the Rain,” “We Gotta Get Out of This Place” and “You’ve Lost That Loving Feeling.”   Eventually, Carole and Gerry’s love fades and, when she discovers Goffin is cheating on her, King and her children leave New York for California.  She begins writing new songs, using the highs and lows of her own life as inspiration.  History is made when King, now singing her own songs, releases the album “Tapestry,” still one of the biggest selling albums of all time.  

The performances across the board were excellent, with stand-out work delivered by Dylan S. Wallach (Goffin), Alison Whitehurst as Ms. Weil and Jacob Heimer as Barry Mann.  The musical ensemble was also quite entertaining, portraying such 60’s performers and groups like The Drifters, The Shirelles, Little Eva and The Righteous Brothers.   “Beaufiul” runs at Starlight through Sunday, June 30th.  For information and tickets for these shows, or future performances, please click HERE.

The Crown Remnant Guitarist Will Ash Discusses “The Wicked King: Part II”

Adam Lawton: Give us a little background on the band if you could?

Will Ash: Los Angeles is kind of a funny place. Everyone has their own things going on so you tend to explore a lot of different avenues when you are trying to be creative out here. I think we are lucky in this band as we have a bunch of guys who are all adventurous enough to want to try a number of different things such as theater, comedy, stunt work and pod-casting. Being that we all come from these different areas of entertainment we are able to use those different experiences to help us create this music. The band sort of started when our singer Geordy came into where I teach guitar lessons. We started talking and had some of the same ideas. He and I coming together kind of solidified the start of The Crown Remnant. The name was already in place and everything so from there we started to audition people. We reached out via Facebook and a bunch of other avenues to get the lineup that we have now.

AL: The new album is titled “The Wicked King: Part II”. Can you tell us about that and how you built on the concept established from the first record?

WA: This was a good creative experience. I like music that is thematic and records that keep a theme throughout the individual tracks. We actually wrote part 1 and part 2 in tandem with one another. We started with a very wide perspective. We knew we wanted an album that was cohesive from the first track all the way to the last track. From there we chose to do a split release. Part 2 is the answer to the call sounded by part 1. The first record has a brighter more idealistic approach and this new album is the antithesis of that. It’s a little crazier, a bit darker and somewhat bigger.

AL: With both records being written at the same time how did you decide what songs went where?

WA: That was a question that went through all of our brains for quite some time. Initially we were very starry eyed and wanted a full 13 track release. The more we thought about it the more saw the benefits two releases could bring. We wanted to keep things consumable so the decision to do two releases was really the first decision we made. From there it was just a question of what songs were going to make it into the records. We looked at the concepts and ideas of each song to see where they would best fit. Geordy and I do a lot of writing together and each of our writings comes out in a certain way. I think that was a big help also when it came time to split things up.

AL: You also score music for video games. How did the writing of this record compare or contrast to that of your game work?

WA: I love video games! It does end up being a little different. I get very excited when I have the chance to mix in more orchestral pieces with the type of music we play in this band. I am very much in to symphonic music so to be able combine these styles is very enjoyable. When I sit down and work on game pieces I am looking a whole different set up instrumentation. Fundamentally things are the same when it comes to writing however beyond the basics there tends to be much more going on within the game pieces. It becomes a different task in that the playing style is more emotive. With the band I have to balance things to be able to include a vocalist and different percussive elements so you have to look at how you approach things to ensure you achieve the feel you are looking for.

AL: What are the bands plans to tour going into 2019?

WA: We are certainly going to be out there! We are very excited to get out there on our first tour. We have not been around very long as a band so it’s a nice feet to be able to string together a multi-state tour. The tour kicks off January 23rd and I believe runs through Mid-February. The record releases on January 18th so it’s going to be a great time to be out there supporting the record. I am looking forward to being out there on the road with my buddies playing music and eating junk food. Hopefully we will be able to get the band’s name out there more help generate some excitement around this new record.

AL: Do you have any other projects outside of the band we can also be watching for?

WA: I try to stay busy as much as I can. Being a young guy I try to juggle quite a few things at one time. I am at the point now where I am very driven so there is not just one project that I am working on right now that I can announce. I do have one project I am heading which falls more on the composing side coming out soon. More details on that should be coming out after we get done with this first run of shows.

For more info on The Crown Remnant you can check out their official website at www.crownremnant.com

Special Edition Vinyl Review: King Diamond “Conspiracy,Them, Abigail, Fatal Portrait”

“Conspiracy, Them, Abigail, Fatal Portrait”
King Diamond
Metal Blade Records
Special Edition Vinyl Picture Discs

Our Score: 4.5 out of 5 stars

With the reintroduction of Vinyl back in to the mainstream many labels have starting re-releasing their back catalogs on titles which either were never available on vinyl or have been long since out of print. Metal Blade Records has been a big proprietor of this practice and their most recent re-releases come from the one and only King Diamond. Media Mikes had the chance to check out four of these releases (“Them, Fatal Portrait, Conspiracy, Abigail”) and needless to say we quite please with the listening experience.

Right out the box before even starting up my turn table I could tell that these four records were going to be something special. All of the albums are pressed on 180 gram vinyl and adorned with beautiful album artwork and photos on both the A and B sides. Probably my favorite of the lot was the photo of a growling King which graces side A of the “Conspiracy” LP. Another thing I notice about the artwork was that all the colors were very vibrant making the art work pop quite nice. Probably the best example of this is that of the seductive woman cloaked in fire on the “Fatal Portrait” album. Not only were these four albums great to look at the sound quality was top notch and consistent across each of the reviewed editions. Classis songs like “Welcome Home”, “Abigail”, “Halloween” and “Victimized” will tear through your speakers as the Kings signature falsetto screams shriek to new levels while the shred-tastic instrumentation blows your mind on an entirely different level.

Metal Blade spared no expense in the re-release of these four albums. The high quality vinyl makes for a tremendous sonic experience while the bold double sided art work provides a nice visual aspect as well. Both fans of the band and vinyl collectors will want surely want to check these out as they are some of the nicer re-releases I have encountered. Another cool thing is that some of these releases will be limited to only 2,000 prints making the collector factor quite high. If you’re into adding some true classic metal to your record collection or want to get these to display merely for the amazing art act fast as these surely won’t be around long.

“Conspiracy” Track Listing:
Side A
1.) At the Gates
2.) Sleepless Nights
3.) Lies
4.) A Visit from the Dead
Side B
5.) The Wedding Dream
6.)” Amon” Belongs to “Them”
7.) Something Weird
8.) Victimized
9.) Let It Be Done
10.) Cremation

“Them” Track Listing:
Side A
1.) Out from the Asylum
2.) Welcome Home
3.) The Invisible Guests
4.) Tea
5.) Mother’s Getting Weaker
Side B
6.) Bye, Bye, Missy
7.) A Broken Spell
8.) The Accusation Chair
9.) Them
10.) Twilight Symphony
11.) Coming Home

“Abigail” Track Listing:
Side A
1.) Funeral
2.) Arrival
3.) A Mansion in Darkness
4.) The Family Ghost
5.) The 7th Day of July
Side B
6.) Omens
7.) The Possession
8.) Abigail
9.) Black Horseman

“Fatal Portrait” Track Listing:
Side A
1.) The Candle
2.) The Jonah
3.) The Portrait
4.) Dressed in White
Side B
5.) Charon
6.) Lurking in the Dark
7.) Halloween
8.) Voices from the Past
9.) Haunted

Film Review: “King Cohen”

KING COHEN

Starring:  Larry Cohen, J.J. Abrams and Michael Moriarty

Directed by:  Steve Mitchell

Rated:  Not Rated

Running time:  1 hour 49 mins

Darkstar Pictures

 

As a teenager there were two film trailers shown on television that not only scared the hell out of me, but that I still remember vividly to this day.  One was for the film “Magic,” featuring Anthony Hopkins, Ann-Margaret and a dummy named Fats, who would look into the camera and recite, “Hocus, pocus…we take her to bed.  “Magic” is fun.  YOU’RE DEAD!”  The other one began like this:  “There’s only one thing wrong with the Davis baby.  IT’S ALIVE!”

 

“King Cohen” is an excellent documentary about filmmaker Larry Cohen, whose films, including “It’s Alive!,” “The Stuff”  and “Q” have a devoted following of fans, including such successful directors as J.J Abrams, John Landis and Martin Scorcese.  All three of these men face the camera and expound on the effect Cohen has had on their own projects.  Abrams recalls a time when he was fifteen years old and running into Cohen on a Los Angeles street.  Cohen was lost and the young man pointed him in the right direction.  Decades later, when the two meet again, Cohen remembers Abrams as the kid who gave him directions.

 

Cohen grew up like many people in show business…wanting to be in show business.  He broke into television in the 1960s, writing for such shows as “Surfside Six,” “The Fugitive” and “Branded.”  Occasionally Cohen was ahead of the times.  A script he wrote for the show “Naked City” was turned down for being to “rough” for the times.  30 years later, Cohen sold the script to “N.Y.P.D. Blue.”

 

The film looks at the various films in Cohen’s career, with Cohen and others talking about his filmmaking process.  Cohen was often a true guerilla filmmaker, often putting a cameraman up on a fire escape and filming the passerby’s reactions.  For one film, he required a parade of 5,000 New York City.  To get the shot, he dressed Andy Kaufman up as a cop and had him join the rest of the boys in blue in marching across the city.  While filming a film dealing with J. Edgar Hoover in Washington D.C., Cohen learns the address where the former F.B.I. director lived and films a few scenes on the front lawn.

 

This film covers pretty much Cohen’s filmography, focusing more on the most popular films, especially “Q” and “The Stuff.”  Interviews with fellow filmmakers, crew members and actors such as Michael Moriarty and Eric Roberts gives the viewer every possible look at Cohen’s process.

 

All in all, “King Cohen” is one of the best documentaries about Hollywood to come down the pike in a very long time.  Now, if I could only get that Davis baby out of my head!

Theatre Review: “The King and I” – Kansas City

‘The King and I”

Starlight Theater – Kansas City, Missouri

June 14, 2018

 

I can imagine it’s pretty hard to write a Broadway musical.

In 1943, a couple of guys named Richard and Oscar took a popular novel and turned it into one of the most popular musicals of all time; “Oklahoma!”  They followed it up with “Carousel,” “State Fair” and ‘South Pacific.”  Four hits in a row.  What would Mr. Rodgers and Mr. Hammerstein come up with for their next show?

Our story begins with Anna Leonowens (Elena Shaddow) aboard a boat with her son, Louis (Ryan Stout).  They have traveled from England to visit the court of the King of Siam, where Anna has been employed as the new teacher for the King’s wives and children.  Both mother and son are taken by the pageantry that accompanies their journey to the palace, as well as the exuberance of the King (Jose Llana) himself.  The King wishes to have his country adapt more modernist attitudes, and he hopes this English teacher can help him change.  And help him she does.

“The King and I” is a show I’ve been dying to see performed live since I first saw the film in the early 1970s.  The closest I ever got was a touring production, starring Yul Brynner, that came through Baltimore in the mid 1980s.  Sadly, I didn’t get to see the show, but I later did eat in the same Chines restaurant made popular by the fact that, when Brynner visited for dinner, somebody stole his shoes.   And, while it would have been amazing to see Brynner in his career-defining role, this new tour is equally every bit its equal.

Elena Shaddow and Jose Llana in Rodgers and Hammerstein’s “The King and I.” Photo by Jeremy Daniel

Both leads give amazing, energized performances and I would be remiss if I did not point out that Mr. Llana makes the role of the King his own.  The supporting cast is just as good and the music….well, it’s Rodgers and Hammerstein, for God’s sake!  What’s amazing is that Rodgers and Hammerstein still had “Cinderella” (a perennial favorite on television), “Flower Drum Song” and “The Sound of Music” to follow.  Filled with familiar songs like “Hello Young Lovers,” “Getting to Know You” and “Shall We Dance,” the show is easily one of the best productions I’ve seen at Starlight in a long time.

The show plays in Kansas City through June 17th.  For tickets to a performance, either in Kansas City or later in the tour, click HERE.

Theater Review: “The Lion King” in Kansas City

Disney’s “The Lion King”

Music Hall – Kansas City, Missouri

May 10, 2018

 

AMAZING!  That is the first word that popped into my head as “The Lion King” began.  While being mesmerized by the animated and musical Rafiki (Makelisiwe Goga), we were treated by a parade of animals down the aisle, from the rear of the theater to the stage.  Birds.  Gazelles.  Elephants.  They strode past in their proud majesty and filled the stage.  And for the next two and half hours, the excitement never died.

“Rafiki” in THE LION KING North American Tour. ©Disney. Photo by Joan Marcus.

Based on the 1994 animated film of the same name, the story of “The Lion King” is much as it was in the film.  Some of the characters are fleshed out more and there are more songs, also written by Elton John and Tim Rice.  The characters are familiar and are portrayed in an amazing way.  While the majority of the lions just wear lion heads, other characters are portrayed by actors holding/wearing puppets.  The effect is jaw-dropping.  Even the lovable duo of Timon and Pumba are portrayed this way, a way that is not distracting in the least.

The original show, which is now the third longest running show in Broadway history, was nominated for an amazing eleven Tony Awards, winning six, including Best Musical.  I’ve been attending shows, both on Broadway and off, since 1980, and I would easily put “The Lion King” in my top 10 of best shows ever.

“The Lion King” runs in Kansas City at the Music Hall through May 27th.  For ticket information, or to see where the tour is heading next, click HERE.

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Theatre Review “The Lion King” @ Dr. Phillips Center for the Performing Arts – Orlando, FL

The Lion King
Show dates: February 14–March 11, 2018
Walt Disney Theater at @ Dr. Phillips Center for the Performing Arts
445 South Magnolia Avenue
Orlando, FL 32801
Tickets: start at $35.25

I remember like it was yesterday when “The Lion King” opened up on Broadway at the New Amsterdam Theater in October of 1997. I saw it that year and was mesmerized by the outfits and the set, just beautiful! Years later I had a chance to see it again in Las Vegas in 2009 and again I experienced that wonderful same feeling. Last night, I experienced that same feeling again. From the moment the lights went down, I immediately got the chills! The music came on and the cast come flooded through the seating area in full costume, singing at full volume. This was magic!

The Walt Disney Theater at @ Dr. Phillips Center for the Performing Arts is a wonderful spot to enjoy theatre. Coming from Broadway, this theatre easily rivals the experience for me personally. The sound is fantastic. The seating is so comfortable much better than a ton of the old Broadway theaters, I can recall. They even utilized two of the box seating areas and had musicians playing living music throughout, which really added a nice 3D sound. I have to admit though, they seemed a little distracting during the song, “Be Prepared” since it seemed a little out of sync.

Buyi Zama has played Rafiki in the stage production of “The Lion King” since day one and it was such an amazing experience to get to see her again in this role, now for the third time. She doesn’t miss a beat and she is on point from seeing her over 20 years ago! Coming off the last ‘Gazelle’ National tour, Mark Campbell, returned a Scar and easily commanded the stage. Besides a little technical difficulty with his mask, was on par if not better than John Vickery in the Broadway production! Literally gave me chills when he spoke!

Buyi Zama as “Rafiki” in THE LION KINGNorth American Tour. ©Disney. Photo by Joan Marcus.

Having seen “The Lion King” live on Broadway and in Las Vegas, this easily one of my most enjoyable to see how it came to life. This felt like a full Broadway production. Even after the show, we got a chance to go backstage and got to view how everything is stored and all the costumes and how the set works. It was amazing. I also got some insight from Mark Campbell, who describes some difference in how the sets move in and out of place and how climbs up the set pieces during the herd sequence, so it really just showed how much goes in behind-the-scenes.

The ensemble cast should also get a shout out here because they were just amazing, when we were backstage we saw how easy of the ensemble cast has 10-15 outfit changes per show. It was simply extraordinary. “The Lion King” started its nearly one month run on February 14 and runs till March 11, 2018, so if you can catch a show I would highly recommend it. Tickets can be purchased here!

Disney’s THE LION KING Performances Begin on Wednesday, February 14 and Play for Four Weeks Through Sunday, March 11 at Dr. Phillips Center

Buyi Zama as “Rafiki” in THE LION KINGNorth American Tour. ©Disney. Photo by Joan Marcus.

Orlando, FL, January 29, 2018 – Casting has been announced for the Orlando return engagement of Disney’s The Lion King. The show’s first appearance in the Walt Disney Theater at Dr. Phillips Center for the Performing Arts, and it’s third time to Orlando, the four-week engagement runs from February 14 through March 11.

The production features Mark Campbell as “Scar,” Gerald Ramsey as “Mufasa,” Buyi Zama as “Rafiki,” Nick Cordileone as “Timon,” Greg Jackson as “Zazu,” Ben Lipitz as “Pumbaa,” Gerald Caesar as “Simba,” Nia Holloway as “Nala,” Keith Bennett as “Banzai,” Martina Sykes as “Shenzi” and Robbie Swift as “Ed.”

The role of “Young Simba” is alternated between Joziyah Jean-Felix and Ramon Reed and the role of “Young Nala” is alternated between Danielle W. Jalade and Gloria Manning.

Rounding out the cast are Derek Adams, Kayla Rose Aimable, Andrew Arrington, William John Austin, Eric Bean, Jr., Kolin Jerron, Thabani Buthelezi, Sasha Caicedo, Kyle Robert Carter, Thembelihle Cele, Erynn Marie Dickerson, Tony Freeman, Mukelisiwe Goba, Deidrea Halley, Jalen Harris, William James Jr., Jane King, Gregory Manning II, Christopher L. Mc Kenzie, Jr., Nhlanhla Ndlovu, Aaron Nelson, Selloane Nkhela, Phylicia Pearl, Christopher Sams, Jordan Samuels, Mpume Sikakane, Sadé Simmons, Kimber Sprawl, Kevin Tate, Jennifer Theriot, Courtney Thomas, Shacura Wade, Zola Williams and Krystal Worrell.

Coming to Orlando as part of the 2017 – 2018 FAIRWINDS Broadway in Orlando season tickets start at $35.25 and may be purchased online at drphillipscenter.org, by calling 844.513.2014 or by visiting the Dr. Phillips Center Box Office at 445 S. Magnolia Avenue, Orlando, FL 32801 between 10 a.m. and 4 p.m. Monday through Friday, or 12 p.m. and 4 p.m. Saturday. Online and phone ticket purchases are subject to handling fees. For groups of 10 or more please contact Group Sales at Groups@drphillipscenter.org or calling 407.455.5550.

Ticket buyers are reminded that Dr. Phillips Center is the only official retail ticket outlets for all performances. Ticket buyers who purchase tickets from a ticket broker or any third party should be aware that Dr. Phillips Center is unable to reprint or replace lost or stolen tickets and is unable to contact patrons with information regarding time changes or other pertinent updates regarding the performance.

The North American touring productions of The Lion King have been seen by more than 19 million theatergoers. Having already played more than 70 cities across North America, The Lion King now proudly returns to Orlando to make its debut in the Dr. Phillips Center for the Performing Arts.

Shows, dates, times, prices, and artists are subject to change.

Dashaun Young as “Simba” in THE LION KINGNorth American Tour. ©Disney. Photo by Joan Marcus.

ABOUT THE LION KING

In its 20th year, THE LION KING continues ascendant as one of the most popular stage musicals in the world.  Since its Broadway premiere on November 13, 1997, 24 global productions have been seen by more than 90 million people.  Produced by Disney Theatrical Productions (under the direction of Thomas Schumacher), THE LION KING is the only show in history to generate six productions worldwide running 15 or more years.  Performed in eight different languages (Japanese, German, Korean, French, Dutch, Spanish, Mandarin and Portuguese), productions of THE LION KING can currently be seen on Broadway, London’s West End, Hamburg, Tokyo and Sapporo, Madrid, Scheveningen, Holland, and on tour across North America, for a total of eight productions running concurrently across the globe.  Having played over 100 cities in 19 countries on every continent except Antarctica, THE LION KING’s worldwide gross exceeds that of any film, Broadway show or other entertainment title in box office history.          

THE LION KING won six 1998 Tony Awards®:  Best Musical, Best Scenic Design (Richard Hudson), Best Costume Design (Julie Taymor), Best Lighting Design (Donald Holder), Best Choreography (Garth Fagan) and Best Direction of a Musical.  THE LION KING has also earned more than 70 major arts awards including the 1998 NY Drama Critics Circle Award for Best Musical, the 1999 Grammy® for Best Musical Show Album, the 1999 Evening Standard Award for Theatrical Event of the Year and the 1999 Laurence Olivier Awards for Best Choreography and Best Costume Design. 

The show’s director, costume designer and mask co-designer Julie Taymor continues to play an integral part in the show’s ongoing success.  The first woman to win a Tony Award for Direction of a Musical, Taymor has in recent years supervised new productions of the show around the world.

The Broadway score features Elton John and Tim Rice’s music from The Lion King animated film along with three new songs by John and Rice; additional musical material by South African Lebo M, Mark Mancina, Jay Rifkin, Julie Taymor and Hans Zimmer; and music from “Rhythm of the Pride Lands,” an album inspired by the original music in the film, written by Lebo M, Mark Mancina and Hans Zimmer.  The resulting sound of THE LION KING is a fusion of Western popular music and the distinctive sounds and rhythms of Africa, ranging from the Academy Award®-winning song “Can You Feel the Love Tonight” to the haunting ballad “Shadowland.” 

The book has been adapted by Roger Allers, who co-directed The Lion King animated feature, and Irene Mecchi, who co-wrote the film’s screenplay.  Other members of the creative team include:  Michael Curry, who designed the masks and puppets with Taymor, Steve Canyon Kennedy (sound design), Michael Ward (hair and makeup design), John Stefaniuk (associate director), Marey Griffith (associate choreographer), Clement Ishmael (music supervisor) and Doc Zorthian (production supervisor). Anne Quart serves as co-producer.

For more information worldwide, visit LionKing.com.

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About the Dr. Phillips Center for the Performing Arts

Dr. Phillips Center for the Performing Arts is a nonprofit 501(c)3 organization operating the state-of-the-art performing arts center in downtown Orlando, Florida. With its opening in November 2014, the performing arts center launched its vision of Arts for Every Life by being a gathering place for creativity and discovery; a vibrant urban destination where artists, audiences and students come to experience, explore and learn. The two-block community destination features the 2,700-seat Walt Disney Theater, 300-seat Alexis & Jim Pugh Theater, Seneff Arts Plaza, Dr. Phillips Center Florida Hospital School of the Arts, the DeVos Family Room, and other event rental spaces. Future expansion includes Steinmetz Hall, a 1,700-seat acoustical theater, along with rehearsal, classroom, office space and commercial development spaces. Dr. Phillips Center is a private non-profit collaborating with the City of Orlando, Orange County, the City of Winter Park, the State of Florida and generous donors.

FAIRWINDS Broadway in Orlando is presented in partnership with Broadway Across America and Florida Theatrical Association. FTA is a non-profit civic organization with a volunteer board of trustees established to ensure the continued presentation of quality touring Broadway productions and the promotion of arts education throughout the state of Florida. For more information, visit FloridaTheatrical.org .

Broadway Across America (BAA) is part of The John Gore Organization family of companies, which includes LionKing.com and The Broadway Channel.  Led by 11-time Tony-winning producer John Gore (Owner & CEO), BAA is the foremost presenter of first-class touring productions in North America, operating in 44 markets with over 400,000 subscribers. Current and past productions include Beautiful, Cats, Chicago, Dear Evan Hansen, Groundhog Day, Hairspray, Hello, Dolly!, Million Dollar Quartet, On Your Feet!, The Producers, School of Rock and Waitress. LionKing.com is the premier theater website for news, exclusive content and ticket sales. For more information please visit LionKing.com and Broadway.com.

 

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Film Review: “Kong: Skull Island”

Starring: Tom Hiddleston, Brie Larson and John C. Reilly
Directed by: Jordan Vogt-Roberts
Rated: PG-13
Running time: 2 hrs
Warner Bros

Our Score: 3.5 out of 5 Stars

There are two funny stories attributed to the late producer Dino De Laurentiis, who produced the 1976 remake of “King Kong.” The first is that, every time his film was compared with “Jaws” he would comment on how “nobody cry when the Jaws die”…and that audiences would be weeping at the end of his film. The other is when he first met producer John Peters, who was not only dating Barbra Streisand at the time but had produced her film “A Star Is Born.” Both movies opened on December 17, 1976 and Peters congratulated Dino on “Kong” out grossing “A Star Is Born.” “I’m not surprised,” De Laurentiis is said to have commented. “My monkey can act!”

1973. As the war in Vietnam winds down, a group of soldiers, led by Colonel Packard (Samuel L. Jackson) is chosen to accompany a group to a recently discovered island on a trip funded by the United States government. Finding the island surrounded by horrible weather and storms, the group takes a few helicopters out to make the journey from ship to land. On the way they encounter a big problem. A problem named Kong.

Though it seems like the big ape has been around forever, this is only the eighth film to feature him and the first since Peter Jackson’s remake of the original 1931 classic over a decade ago. Some people didn’t like Jackson’s version but I thought it was well made and really made Kong a sympathetic character. The same holds true here. We learn that Kong is really less of a bully and more of a protector of the indigenous people living on Skull Island. There are lots of creatures roaming around, from lizard-like monsters to giant octopi. But nothing is as big of a threat to the big beast than Colonel Packard, who takes Kong’s protective attack on his choppers as a declaration of war.

Though you really don’t go to a movie like this to see the actors, the cast here is quite good, including a rather dashing looking Hiddleston, strong-willed photographer Larson and World War II vet Reilly, who is truly the heart of the film. Reilly’s former soldier has been on the island since the end of World War II and it’s fun to watch him learn about the world ahead of him while he tries to save the one he’s involved in. Ironically the weakest part of the cast is Jackson, who here plays…Samuel L. Jackson. Clever comments, like “bitch, please” roll from his lips as he continues to plan Kong’s demise. And while Kong isn’t all over the film he appears enough to remind you who’s King. The action is intense and the special effects are well done.

What’s next? Stay through the end credits and find out!

Chantel Riley Talks About Broadway’s “The Lion King” and Her Role in the New Film “Race”

Born in Toronto, Chantel Riley’s path to stardom began when she realized she wasn’t doing what she truly wanted in her life. She is now. Since 2012 she has starred as Nala in the Broadway musical “The Lion King” and last year was able to take time off from the show to begin her movie career with a pivotal role in the new Jesse Owens bio-film RACE.

During a break in her busy schedule, Ms. Riley took the time to speak with me about the physicality of “The Lion King,” her role in RACE and why one day she hopes to be able to “ease on down the road!”

MIKE SMITH: Tell us a little bit about your background? How did you end up on Broadway?
CHANTEL RILEY: I’m originally from Toronto and I went to University in Toronto. After school I pretty much got a 9-5 job but after about a year and a half I realized it definitely wasn’t my thing. (laughs) Because I was a performer. I had taken dance lessons and I had grown up singing in my church. I just had an idea that something else was out there for me. I had no idea what it was but I knew I needed a change. A friend of mine told me about an open casting call they were having in Toronto for “The Lion King.” I had never auditioned for anything before in my life. This was my first time doing anything like this. So I went to the audition and got a few callbacks, which was very exciting. I had a couple well extended lunch breaks…I kept having to go downtown for these callbacks. A couple months later I got a call from my agent and they wanted me to audition to be part of the cast of “The Lion King” in Germany. So I flew to Germany, did the audition and booked the job on the spot. I did the show there for about a year and then I auditioned again for Julie Taymor, who directed “The Lion King” on Broadway, and was offered the role of Nala in New York on the Broadway stage. And here I am!

MS: So basically you’re just like Shirley Jones…you just show up and you’re on Broadway!
CR: (laughing) Exactly!

MS: You’ve portrayed Nala for quite a while now. Do you have to prepare anything special for yourself to keep the performance fresh? I can imagine doing the same thing 8 shows a week for a couple of years might get boring after awhile.
CR: Yes I do. I keep occupied by taking classes and making short films. These things keep me thinking outside the box. I also use what I learn from the classes and the films and bring it with me on the stage. It gives me a new sense at how I look at each performance every night. And this also gives me the chance to try something new. Every night we have a new audience. So it’s a great way for me to try new techniques and to find different ways of performing.

MS: I’ve never seen the show on Broadway but I’ve seen photos and the occasional video clip. It’s a lot more than just standing on a stage and singing. Is the show more difficult physically as opposed to musically?
CR: The show is very physical. We’re constantly on stage and we play lions and zebras and other animals. My role has me constantly running around. If Nala isn’t jumping on-stage she’s jumping off-stage. There’s a lot of activity. AND singing. I sing two songs in the show. We sing live and the dancers are moving non-stop. So it is a very physical show.

MS: You have an important role in the upcoming film RACE. What is your character’s relationship to Jesse Owens in the film?
CR: Quincella Nickerson was someone who was very close to Jesse Owens. She was not only his friend but a huge fan of his. She was a socialite whose father owned a huge insurance company in California. At that time that was pretty huge…that an African-American could be that affluent. She spent a lot of time with Jesse…attending parties and things. There were rumors going around that she and Jesse were engaged to be married. They spent a lot of time together. So we see a lot of that in the film…a lot of her in the film.

MS: If you could play one role on Broadway, either current or a show from the past, what would it be?
CR: Definitely Dorothy from “The Wiz.” I think that would be such a fun role. It would be so exciting. And it’s such fun music. That would be so much fun!

MS: What do you have coming up next?
CR: I’m working on a new short film with James Brown-Orleans, a fellow cast member from “The Lion King.” We’ve done a lot of short films together. Our most recent film, “Teacher’s Nightmare,” just won the Wendy’s International Short Film Award for Best Drama. That’s pretty cool.

Blu-ray Review “A MusiCares Tribute to Carole King”

“A MusiCares Tribute to Carole King”
Rated: Unrated
Studio: Shout! Factory
Run Time: +/-60 min
Format: Blu-Ray and DVD

Our Score: 3 out of 5 stars

On January 24th, 2014 Carole King was honored as the 2014 MusiCares Person of the Year. During the event King along with a long list of super star guests performed some of Kings most celebrated songs from a career spanning decades. “A MusiCares Tribute to Carole King” is the film presentation of those performances which in include appearance by LeAnn Rimes, Gloria Estefan, James Taylor and Lady Gaga just to name a few. Proceeds from the sale of this disc will provide essential support for MusiCares, which ensures that music professionals have a place to turn in times of financial, medical and personal need.

“A MusiCares Tribute to Carole King” is the latest MusiCares release from Shout! Factory who has previously released tribute concerts dedicated to Paul McCartney, Barbara Streisand and Neil Young. Much like previous releases in the MusiCares series the concert is made up of a number of guest’s performances all paying tribute to the selected artist for that year. King is certainly more than deserving of the award and you can certainly tell the impact she has had on all music simply by looking at those who appear in her honor. Songs like “You’ve Got a Friend” performed by Lady Gaga and “Natural Woman” performed by Alicia Keys are definitely worth checking out as is my own personal favorite “Beautiful” performed by Sara Bareilles, Zac Brown, Jason Mraz and Raining Jane.

All in all a pretty entertaining release however if you’re looking for something a little bit more such as bonus content or interviews you won’t find it here. What you do get its 60 minutes worth of star studded entertainment which at times outweighs the lack of those missing special features.

Track Listing:
1.) Hi De Ho (That Old Sweet Roll-) LeAnn Rimes and Steven Tyler
2.) So Far Away- P!nk and Paul Mirkovich
3.) I Feel the Earth Move- Train
4.) Its Too Late- Gloria Estefan
5.) Love Makes the World/Where is the Love?- will.i.am and Leah McFall
6.) Beautiful- Sara Bareilles, Zac Brown, Jason Mraz and Raining Jane
7.) Way Over Yonder- Merry Clayton, Lisa Fischer, Judith Hill and Darlene Love
8.) Where You Lead- Jesse & Jay
9.) Crying in the Rain- Miguel and Kacey Musgraves
10.) Natural Woman- Alicia Keys
11.) Been to Canaan- Jennifer Nettles
12.) I’m Into Something Good- Amy Grant
13.) It Might As Well Rain Until September- Miranda Lambert
14.) One Fine Day- Martina McBride
15.) Up On the Roof- James Taylor
16.) Home Again- Carol King, Moez Dawad and Ahmad A. El Haggar
17.) Sweet Seasons- Carol King and James Taylor
18.) Hey Girl- Carol King and James Taylor
19.) Will You Love Me Tomorrow- Carole King and James Taylor
20.) Jazzman- Carole King and Tom Scott
21.) I Feel the Earth Move- Carol King and Cast Ensemble