Green Ballet Shoes, Figurative Oil Painting, Ballerina, Dance, Framed And Ready To Hang (2017) - New Release

Artist's description:This is another of my ballet series, in which I'm playing with texture, movement and shape. II found myself listening to Wicked a lot while painting this. I loved the shapes Laura V. creates, the shoes merging into one single shape as they lean on each other.They are framed in solid custom made framed. It is framed in a solid wood custom made frame, painted dark blue/grey.Materials used:Artist Quality Oil Paintings, Canvas Board, FramedOil painting on Panel / Board / MDFOne of a kind artworkSize: 38.99 x 29.01 x 5 cm (framed) / 29.97 x 19.81 x 0.3 cm (unframed)This artwork is sold framedSigned on the frontReady to hang

This quirky and fresh Broadway musical based on the low-budget Irish 2007 film has struck a chord with theatergoers and critics. “Once” transports Glen Hansard and Markéta Irglová’s wistful folk-pop score into a participatory pub setting where the actors all play their own musical instruments in a freewheeling ensemble. Theatergoers can also belly up to the onstage bar before the show and join in the party. Lest that sound thoroughly subversive, rest assured that hotshot British director John Tiffany has always delighted in breaking down the boundaries of conventional theatrical tropes. Setting “Once” in a cabaret removes the fourth wall and lets the audience become part of the show.

“There’s nothing out there like it,” says “Once” choreographer Steven Hoggett, who also collaborated with Tiffany on “The Black Watch.” “It casts a spell on the audience, It’s one of the most immersive shows I’ve ever worked on, The audience never feels like they are watching a show, The characters are so vulnerable and fragile that it feels real.”, Many have been smitten with the musical’s incarnation of this enchantingly low-key love story, an antidote to the bloated special-effects juggernauts that usually dominate green ballet shoes, figurative oil painting, ballerina, dance, framed and ready to hang (2017) Broadway..

—‰’Once’ uses song and dance in a way I’ve never experienced in an American musical,” raved the New York Times. “When the violins begin to play — and the accordion and the mandolin and the guitars and the cello — the instruments swell into a collection of distinctive voices melded into a single, universal feeling. ‘Once’ massages that feeling until it hurts quite exquisitely.”. The unconventional feel of the romance, its embrace of piercing regret without any hokey Hollywood schmaltz, was precisely what seduced Tiffany, who is always drawn to life’s poignant rites of passage, from the Scottish soldiers in a famed regiment in “The Black Watch” to the scruffy street musicians in “Once.” His characters lose their innocence in such a potent way that the audience cannot help but feel their pain.

“I am interested in telling the kind of stories that have not been told before,” says the eclectic director, who is currently working green ballet shoes, figurative oil painting, ballerina, dance, framed and ready to hang (2017) on the stage version of “Let the Right One In” in London, “and the kind of stories that are best told live, The trick is to find the right theatrical vocabulary to tell the story.”, He pauses, then adds he knew he succeeded in creating a sense of interactivity with “Once,” when “people began telling me that they felt they had watched the show with everyone they have ever loved.”..

His love affair with the project began with Hansard and Irglová’s gem of a score, which includes the Oscar-winning song “Falling Slowly,” the cathartic “When Your Mind’s Made Up” and the anthemic title song. “Putting this kind of gentle, low-fi music on stage seemed quite crazy,” admits Tiffany, also hailed for a Broadway revival of “The Glass Menagerie” starring Cherry Jones and Zachary Quinto. “I had never heard music like that on stage before. It’s delicate, it’s folk, not rock, and it was very hard not to bash that delicacy to bits.”.

Subtlety is key to the magic of “Once,” which eschews the usual brassy green ballet shoes, figurative oil painting, ballerina, dance, framed and ready to hang (2017) brand of Broadway slick packaging and pumped-up special effects, The need for depth and nuance is one reason Tiffany enlisted his old pal Enda Walsh, the Irish playwright best known for the demented masterpiece “The Walworth Farce,” to write the adaptation for the musical, Not an obvious choice by any means, “It’s a bit like having Charles Manson adapt ‘It’s a Wonderful Life,’ I know,” chuckles Tiffany, “but despite the fact that he has written so many dark, violent and twisted plays, he’s a real softy on the inside, and that’s what we needed for this piece.”..

“It’s a very quiet and unassuming piece, and that’s part of its charm,” says Hoggett, who just received a Tony nomination for “Rocky.” “So many Broadway shows are smash-and-grab technical juggernauts. For us, this show was about trying to capture what was essential about the story. It’s sparse and distilled.”. Hoggett found himself in the unusual position of fighting to not choreograph certain numbers because he felt the songs needed no razzle dazzle in order to shine.

“It was a very sexy challenge for me,” says the choreographer perhaps best known for “American Idiot.” “Half of the songs stand green ballet shoes, figurative oil painting, ballerina, dance, framed and ready to hang (2017) on their own and needed no movement at all, They needed to be given to the audience in a very pure way, You had to hold the line with a show like ‘Once,’ because there is so much beauty, so many moments that you can’t embellish all of them, You have to be strong and keep your focus and stick to the minimalism.”, Ironically, the more restrained the performances in the show, the more deeply the audience seems to be moved, It’s as if the honesty of the stagecraft feeds the catharsis for theatergoers, many of whom have trouble fighting back a tear at the finale..

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