Seated: $25 advance, $30 day of show
Standing room: $20 advance, $25 day of show
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TABLE SEATING POLICY
Table seating for all seated shows is reserved exclusively for ticket holders who purchase “Table Seating” tickets. By purchasing a “Table Seating” ticket you agree to also purchase a minimum of two food and/or beverage items per person. Table seating is first come, first seated. Please arrive early for the best choice of available seats. Seating begins when doors open. Tables are communal so you may be seated with other patrons. We do not take table reservations.
A standing room area is available by the bar for all guests who purchase “Standing Room” tickets. Food and beverage can be purchased at the bar but there is no minimum purchase required in this area.
All tickets sales are final. No refund or credits.
The Symptoms (Kid Millions, Tony Diodore, Laurie Anderson)
John Colpitts (aka Kid Millions) is a Brooklyn-based multi-instrumentalist, composer and writer who is perhaps best known as the drummer for Oneida.
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Laurie Anderson is one of America’s most renowned—and daring—creative pioneers. Her work, which encompasses music, visual art, poetry, film, and photography, has challenged and delighted audiences around the world for more than 30 years. Anderson is best known for her multimedia presentations and musical recordings. Anderson’s first album, O Superman, launched her recording career in 1980, rising to number two on the British pop charts and subsequently appearing on her landmark release Big Science. She went on to record six more albums with Warner Brothers. In 2001, Anderson recorded her first album with Nonesuch Records, the critically lauded Life on a String.
Anderson’s tours have taken her around the world, where she has presented her work in small arts spaces and grand concert halls—and everywhere in between. She has numerous major works to her credit, along with countless collaborations with an array of artists, from Jonathan Demme and Brian Eno to Bill T. Jones and Peter Gabriel. Anderson is recognized worldwide as a groundbreaking leader in the use of technology in the arts: she was appointed the first artist-in-residence of NASA in 2002. Anderson was also part of the team that created the opening ceremony for the 2004 Olympic Games in Athens. More recently, she received the prestigious Dorothy and Lillian Gish Prize for her outstanding contribution to the arts.
Laurie Anderson’s new work Homeland presents the vast landscape that is contemporary American culture through the lens of one of the world’s foremost and critically acclaimed artists. The piece—part political dialogue, part poetry song cycle combining words, electronics and live music—has received critical praise from the New York Times, Los Angeles Times, Boston Globe, The Times of London, and others following Anderson’s tour with Homeland in concert halls and theaters across the globe.
The foundations of Homeland were created on the road through a series of performances and improvisations at venues ranging from small clubs to an ancient theater on the Acropolis in Athens. The piece draws on an array of influences collected along the way—Tuvan throat singers, jazz improvisers, and New York experimental artists contribute voices to what has become one of Anderson’s most political works to date. Her recent sonic experiments with the violin, along with groove-oriented electronics and traditional instruments such as the Chinese erhu, shape the piece as well. Homeland is as much a process as it is a statement, as each version is unique.
The themes Anderson explores with Homeland cover a breadth of contemporary issues, from the war and the media to America’s growing surveillance culture and the environment. In 2004, while making a film commissioned for the World Expo in Japan, Anderson began to contemplate the meaning of place via the short stories she was using in the work. One of the stories touched on losing things, or the feeling of losing things. “‘I knew I had lost something but I just couldn’t put my finger on it,’ was one of the lines in the story,” Anderson explains. “Like when you feel bereft and you don’t know whether it’s because you lost your keys or your job or because your grandfather just died,” she continues. “But I started to think about when I wrote that story and I remembered that it was when we began the invasion of Iraq. And what I’d lost was my country.” Anderson applies that notion to Homeland’s thematic threads.
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Tony Diodore is a musician from Brooklyn, NY. He plays guitar and violin in Lou Reed’s live tour band, and formerly played guitar and/or violin in multiple Brooklyn trip hop and electronic bands, including: Number19, BM Linx, and Puracane. (via wikipedia)
(photo of Tony via allaboutjazz.com)