Synopsis of Judas Runs

A week after opening "The Last Days of Judas Iscariot" at Lehigh University, the cast and I have been blessed to enjoy five completely different shows.

There have been large crowds, empty crowds, silent crowds and adult crowds, but each one of those audiences have allowed us to gain a different and fresh perspective every time we perform.

Friday's crowd was by all means, the largest one yet. This is expected since opening night always seems to appeal the most to all the theatre students, staff, family and friends. We all had an extra shot of adrenaline because it was our first show, but the crowd responded so positively to our performance that we never let our nerves hold us back. A few hick-ups here and there, but nobody could ever notice them.

Saturday's crowd was a little smaller and not as engaged as Friday's, but we were able to approach a more serious tone with this performance. The awkward moment of the night came when nobody clapped after the first act's blackout. Did they not like it? Or were they just not sure when to clap?

Sunday's crowd was a matinee. And though we were exhausted from the previous night's performance, we gave it are all to give our crowd their money's worth. Our most silent crowd yet (mainly older couples), this was probably our weakest performance. The audience and cast were not in sync. At least I wasn't. Maybe the play is too avant garde for older audiences.

On Wing Night Wednesday all I could think about was finishing the second act to get me some wings for my starving painful empty stomach. I'm pretty sure most of the audience that was there were students that went for that soul purpose. But according to our director, Wednesday was our best performance yet. We presented it exactly how he envisioned it to the letter. It was good to have two days off in order to start fresh just like we did on Friday.

Our boutique (small and intimate) run, Thursday's audience was one of the most engaged we have had during our run, and that's always what we're looking for.

We still have two more shows to go before closing. It seems only like yesterday we started rehearsing, but we've come a long way. I always love seeing how every cast member evolves during a production. Some serious emotions are getting nibbled. We expect nothing less.

Arcade Fire's Alter Ego?

Arcade Fire used to be the best kept secret for rock music lovers; that is until they won a Grammy for Album of the Year a few weeks ago.

The Suburbs is easily the smartest, most well-crafted, and artistic album of 2010. Songs like "The Suburbs," "Ready To Start," "City With No Children," and "Month Of May"garnered them mainstream attention without cutting their indie roots. But now with a Grammy on their holster, they can no longer return to being known as the "amazing unknown band." They're still amazing, but winning that Grammy seemed to me like the passing of the torch to another band. As if it was someone else's turn to lead the underground indie movement.

This torch isn't even leaving Quebec.

Metric are an indie rock band just like Arcade Fire, but more compact (only four members compared to Arcade Fire's "orchestra"). They also have a heavier sound, but at the same time, just as mysterious and pleasant as Arcade Fire.

Compare the videos below and judge for yourself.

10 Best Pre-Resistance Muse Songs Pt. 2

As promised, here is the second half of the 10 best Pre-Resistance Muse songs. Unlike the previous list, this one is more evenly spread out with the last two albums that were released before "The Resistance": "Absolution" and "Black Holes and Revelations".




Time is Running Out
Absolution 2005


This album was the start of Muse's musical direction into apocalyptic and protest themes. The music is amazing with a crunchy bass line leading it off with catchy falsettos during the bridges.



Hysteria
Absolution 2005


This is probably the first song, along with the previous one, that Americans first heard of Muse. Easily their signature song with again, the distorted bass lines leading off the entire song and with great guitar solos. Sadly, though, it's probably their worst music video.


Starlight
Black Holes and Revelations 2007


Embedding has been disabled for this music video, but make sure to still check out the link. Their catchiest and most poppy song, "Starlight" was the gateway to the everyday American teenager. And even though the song sticks to sad cliches and has a love theme, MUSE arem still able to make a great rock ballad out of it.




Assassin
Black Holes and Revelations 2007


This is their most underrated and underplayed song in their repertoire. It is a lot more heavy than the stuff they usually play, but their musical prowess is easily spotted with the non-human speed of the drums and riffs. This song was also featured in "Guitar Hero World Tour".

Knights of Cydonia
Black Holes and Revelations 2007


Their anthem. They will either open a show or end one with this song, guaranteed. A great upbeat song that makes you want to listen to this song while you're horseback riding into the unknown. Easily their best music video too.

"The Last Days of Judas Iscariot" Opens TONIGHT

Adrian V. as Judas Iscariot and Kashi J. as Saint Monica during Monday's rehearsal

If you have two and half hours to spare tonight, the best form of entertainment will be held at the Diamond Theatre in Zoellner Arts Center at Lehigh University.

After more than a month of rehearsals, the production is finally ready to be opened to the public. Everything is good to go. The cast and crew have been rehearsing rigorously until late at night to make sure this production is one of the most memorable in Lehigh Theatre history.

Sure, there is a small conflict of interest as I write this post, since I will be playing the titile character. But really, you can't miss a real-life court room drama based in purgatory with the testimonies of the likes of Mother Teresa, Sigmund Freud, Pontius Pilate and Satan!

The show starts at 8 p.m. and has a ten-minute intermission. Tickets can be purchased at the Zoellner Box office, by phone or online.

I've never been so proud to be in a production as I am on this one. The designers and cast have pushed the envelope far more than expected in order to bring an original and refreshing play to the Diamond Theatre. The show will run until Feb. 26. See you there!

10 Best Pre-Resistance Muse Songs Pt. 1

MUSE, the alternative rock trio from England won their first grammy ever on Sunday. It was also their first academy nomination in their 16+ years career. But why did it take so long for America to properly reward the musical prowess of these three virtuosos?

In a musical era that is dominated by commercial and marketable pop and hip-hop, MUSE have always held their ground and been true to their roots and influences (U2, Radiohead, Rage Against the Machine and Queen). Preferring to maintain their integrity, they've never altered their sound to appeal to America's mass audience, except that time when they provided songs to all of the Twilight Saga movies. As a fan I was embarrassed that my favorite band had been the source of inspiration of such ridiculous vampire drama.

"The Resistance" won Best Rock Album of the Year. But what about their previous works? "The Resistance" is a true masterpiece, but their earlier stuff should have topped academy nominations years ago. Below is the first half of a list of the 10 to best MUSE songs in order of release before "The Resistance".



Muscle Museum
Showbiz 1999


This was one of their first singles. From such a young age, their potential was already coming into fruition. An excellent combination of trippy-keyboards, jazzy bass lines and heavy drums with distorted guitars. Madonna's record label Maverick Records hated Matt's falsetto. I wonder what she thinks of it now.




New Born
Origin of Symmetry 2001


Probably my favorite album yet, New Born set the direction in which MUSE was going to go for the rest of their career. The heavy drums, guitars and distorted bass are all in perfect melodic synchronization with the simple, yet hypnotizing lyrics. "New Born" has the best guitar and bass riff out of all their songs. It's sad how America wasn't cultured with this album.



Bliss
Origin of Symmetry 2001


The title says it all. You get infused with so much adrenaline you just want to bang on anything you can get a hold of. Heavy presence of Rage Against the Machine in this long. Love the distorted bass line that guides the song.



Feeling Good
Origin of Symmetry 2001


Easily the best cover of all time. Not even Nina Simone's version can match Muse's cover of Antony Newley's and Leslie Bricusse's 1965 song. A perfect hybrid between jazz and rock. Also, a perfect example of the importance of bass. Great to hear live too.



Plug in Baby
Origin of Symmetry 2001


The fact that four out of the five songs in this list come from their sophomore album shows you how underrated the trio was at the start of the new millenium. The band has said in numerous occasions that their first two albums didn't count for the U.S. This song was featured, however, in Guitar Hero 5 with Matt Bellamy being a playable character. Did they finally give it justice? Note: It's a lot harder to play for real than on a plastic peripheral device.

Watch for second part of this list in the next few days.

Judas update

With less than a week left for opening night, things are looking really good for "The Last Days of Judas Iscariot" in Lehigh University. Yesterday we had our final run of the whole play before entering into tech week tomorrow.

While most of the cast had a great run, there's this notion in my head that keeps telling me that yesterday was my worst performance ever. I was accidentally late to rehearsal and didn't warm up, and as a result, I skipped and forgot lines that I never had a problem with to begin with. The set is approximately 70% complete. I finally got my lair set with a rock, though it's the most uncomfortable piece of furniture I have ever sat in. I had to bring it to the attention of the stage manager because there is no humanly way possible a person can sit almost two hours straight in the same position in a hard, rough styrofoam boulder.

Tomorrow at noon we begin the dreadful tech week. It's the final stage of rehearsal where all the artistic designers join us and calibrate lights, sound effects etc. We're looking at a 9-hour rehearsal tomorrow. Most of it is going to include stopping for cues and transitions for the lighting designer. Then on Tuesday we're starting our first dress rehearsal with full costumes and make-up.

All signs indicate that it's going to be a great show. I'll blog one last update before the show opens. Don't forget to check it out Feb. 18-26.

Superbowl Halftime Show Review

So now that Superbowl fever is over, I figure it's the appropriate time for me to share my thoughts on the infamous and controversial show.

I was never glad or open to the idea of The Black Eyed Peas performing in front of millions of viewers. They're not at that level of super stardom, and the superbowl didn't help them get anywhere near it. If anything, it did the opposite. I was amazed with the amount of harsh words that were said both by critics and viewers about the Euro-Techno performance of the quartet from Los Angeles.

The problem with this show was that they didn't have a show to begin with. The Peas aren't musical virtuosos. They know how to produce commercial tracks that the world is going to love dancing and that's what they delivered. Fergie, if anything, has the best voice in the group, but she was the worst singer at the show. I'm talking about the part when Slash suddenly appeared from a trap door. That was the neatest surprise, but it only lasted five seconds. Then Fergie started belting out "Sweet Child O' Mine". She embarrassed the institution of Slash and the rest of Guns N' Roses. Shame on her, but even more on Slash for allowing himself to be put in the middle of that circus.

Most of the work and spectacle was carried out by the dancers (another move that I didn't like). Typically the field is rushed to by lucky fans who get to surround the elaborate stages. This year they were included in complicated routines that were worthy of praise, but not something that I felt like watching for a SuperBowl half time show performance.

then Usher cam down. What's up with that. My closest bet is that this show was a failed attempt to surpass the King of Pop. Again, failed attempt.

"...down came the critics and washed the spider out..."

I really feel bad for the guys at "Turn Off the Dark". They got hammered today pretty hard by all the major theater reviewers. Worst of all, the show hasn't officially opened. The producers of the spiderman musical that has cost more than $65 million (the most expensive ever) have postponed opening night six times so far due to virtually every problem that could go wrong in a production, from writing a new ending to acrobats falling and injuring themselves during the middle of a show. That was enough to infuriate the newspapers and have them review a show under circumstances they usually wouldn't. 


The reviews were published Monday, which was supposed to be the date it would upen until producers moved the date again to March 15. The reviewers felt a compelling obligation to the public. The New York Times defended itself saying, "The show had been running long enough to paying audiences for judgement to be rendered."


With all due respect to theater etiquette. I completely support the newspapers' decision to go ahead with the reviews. They do have a point. I mean, they've been in previews for 66 shows. Why should the second top-grossing show on Broadway ($1.3 million a week) escape the clutches of reviewers? I do hope they didn't trash it just because they've been waiting impatiently for more than a year to see the show, but rather because it's as bad as they say it is. 


I'm a fan of spectacle and U2. And even though the music is written by Bono and U2, and the reviews imply that no one should have to sit through the "most expensive and worst musical ever," I'll still go and  bore myself to death if the reviews are true, or hope for a miraculous save from the production crew when they finally do open, even though the general consensus seems to be that this show is "beyond repair."


I really do hope they get their act together and see today's press as a wake up call. A show this expensive has to live up to expectations.

The Last Days of Judas Iscariot update

We've been rehearsing and working hard for the past three weeks. We now have less than two weeks until opening night, and even though there is still a lot of work to be done, the show is finally picking up its form. We've only had two full runs and while they've been reassuring in terms of showing the director and the cast members where we are, we haven't been able to have a complete run with the entire cast. There is always a sickness or an issue that prevents a cast member from showing up to the Friday runs.

Luckily, we have an amazing stage manager (Lucas Ingram) who has filled in some tough shoes by walking through the parts of the missing cast members, all while at the same time fulfilling his duties as stage manager and helping out the cast with lines.

At this moment, the stage is still being built. The basic ground work has already been set. The lower floor is neatly slanted, which gives a different perspective to the audience: It makes them feel like they're in the show. After all, they're supposed to be spectators in a court so this is a very neat way to incorporate them. The platforms where I'll basically be stationed in a catatonic stupor are expected to join the set by the end of next week. Then, we're off to tech rehearsals Sunday the 12, and then, it's opening night. Not a whole lot of time left to work, but we'll make it.

Almost everyone is pretty much off-book by now. The lawyers, who undoubtedly have the hardest work, are almost there, but at least they feel comfortable portraying their characters instead of thinking and worrying about their lines. As for me, playing a catatonic is not as easy as I'd imagined. I can pull it off fine until the second act. A leg will get numb every now and then or my nose or eye will start to itch. I've been trying to hold still as much as possible, but there are times when I just have to break character and pull myself together. Again, it might be easier to play the role once my lair is built with the appropriate padding and cushioning to allow me to be comfortable in the same position for two hours.

This coming week we'll be running the two acts separately and working problems. The lights will also go up this week. I'll keep you guys updated when we start tech rehearsals

When will Aerosmith finally release a new album?

It's what everyone is asking. And now that their legendary singer is making big bucks as a judge for "American Idol," it really seems that a legitimate reunion for Aerosmith is less than likely.

The fab 5 from Boston haven't released an original record since 2001's "Just Push Play". It wasn't even their best album so it wasn't like they stopped when they hit their creative peak, which is actually understandable in some cases. These guys just don't have it going for them. Steven Tyler has fallen off stage way too many times, gone too rehab way too many times and been trying to change his image way too many times.

What's wrong with brand Tyler? Everyone loves him for being able to scream melodically louder and more powerful than what is considered humanly possible. I understand these guys are into their 60s now and that  they just don't have the energy they once had. That's the price you pay when you plan to live fast and die young by the "sex drugs & rock n' roll" motto, but don't actually die. Instead, they started to wrinkle up and just let time pass by.

Joe Perry has at least kept busy with his solo blues projects. But come on, who really wants to here Joe Perry sing and play 12-bar blues? As for the rest of the gang, it seems Brad Whitford, Tom Hamilton and Joey Kramer are just spectators in the duel between Tyler and Perry. They more often side with Perry, even reaching the point where they were threatening to find a new singer if Tyler didn't get his act together. Tyler and the gang responded to the ultimatum by posting the cheesiest tour promo clip on the web.

Whatever their internal issues are, they have got to work it out fast. They've been through this before in their career as a band spanning over 30 years. Early 80s ring a bell? Why should today be any different? The Rock N' Rollercoaster in Disney is going to end up a being a memorial to the death of this band if they don't start recording soon. Enough with the shows: They only end up injuring Tyler, and there is nothing more distasteful than a band who tours on their hits. Stop sleeping in the laurels and get it together guys. And don't even think about doing another cover record. "Honkin' on Bobo" belonged to an amateur band.

Tyler: Enough with the American Idol thing. Go back to being the Screamin' Demon.

Everyone in Aerosmith except Tyler: As much as you all hate to face it, you need Tyler, so make peace with the guy (start answering his calls instead of just texting him) and think of the fans who made you guys millions of dollars, and go make a record!

The Most Underrated Guitarists of All Time

Rolling Stone magazine pretty much hit the spot when they published their list of the 100 Greatest Guitarists of All Time. The list is mostly comprised of mainstream acts as you would expect from RS. Hendrix, Clapton, Page and Richards were obviously listed as the top 10. And while there were some nice surprises in the list such as Joe Perry from Aerosmith, Edge from U2 and Joan Jett, the fact that they left out the two greatest guitarists of our time didn't sit easy with me.


I'm talking about the legendary Slash and the virtuoso Matthew Bellamy.


The introduction of the list in Rolling Stone reads, "They built their own guitars, stabbed speaker cones with pencils, shattered instruments and eardrums — all in search of new ways to make the guitar cry, scream, whisper, shout and moan. And when that wasn't enough, they turned up the volume. They are the 100 greatest guitarists, and these are their sounds and stories."


Slash may have not been famous for building his own guitars, but he definitely created a new sound from his Les Pauls that ended up saving Rock n' Roll in an age when it was commandeered by make-up-masqueraded glam queens. He welcomed us to the jungle and he took us to paradise city, and he didn't even make the top 100. What a shame.


Now for Matthew Bellamy, the successor of Hendrix, who plays with the British alternative rock band, Muse, his omission comes as less of a surprise. The American press has always been hard on him and his band. Everywhere else except in America, Muse are considered gods. Their shows are considered the best. All the musicians are considered the best at what they do, and for good reason. Bellamy has created a new sound for the guitar through a combinations of effects similar to Tom Morello, but he still plays with a skill that easily matches Jimi Hendrix.


It's no surprise then that the international press actually acknowledges his accomplishments. Total Guitar magazine ranked him #29 in their list of 100 Greatest Guitarists of All Time and NME magazine ranked him #14 Greatest Rock 'N' Roll Hero of All Time. He placed ahead of Bob Dyaln and John Lennon. Think of what that says of the man.


What more do these guys have to do before they can be properly recognized in America?