Anything with the words “Care Bears” in its name is apt to evoke visions of cuteness. And the Brooklyn punk-rock trio Care Bears on Fire certainly isn’t short on cuteness. But the three girls that make up this band (two eighth graders and one ninth grader) are long on talent and attitude, too.
Singer/guitarist Sophie and drummer Izzy are both 13, while bass player Jena is 15. These three really kick out the jams. (And I don’t say that just because I’m friends with the father of one of the girls.) They rock. They have the potential to have a great career if they want it. And they’re living proof that girls really can rock! Check out this great clip about the band from NYC’s Channel 7 Eyewitness News:
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And you can check out Care Bears on Fire in person in just a couple of weeks:
3:30 p.m. on June 4. Outdoors on the steps of The Brooklyn Public Library, 1 Grand Army Plaza, Brooklyn. Free.
"Ruined" playwright Lynn Nottage
Last night was Off-Broadway’s time to shine at the 54th Annual Village Voice OBIE Awards ceremony. The show at Webster Hall in the East Village was co-hosted by former OBIE winners Daniel Breaker (2008 for Passing Strange in its pre-Broadway incarnation at the Public Theater) and Martha Plimpton (2002 for Hobson’s Choice).
Lynn Nottage‘s Pulitzer Prize-wining Ruined (Manhattan Theater Club) — directed by Kate Whoriskey, who is also Breaker’s wife — took the award for best new American play.
Click to the jump for the full list of winners. Continue reading
City Opera revives the Mark Lamos production of Chabrier's comic opera L'Etoile.
I know, I know. New York City Opera announced its comeback season long ago — on April Fools Day.
But Will You Miss Me When I’m Gone? didn’t exist at that time — although the name and the idea had been kicking around for a year. So please forgive me for jumping into the pool a bit late.
I was reminded that WYMMWIG? hadn’t weighed in on the NYCO when the subscription notice arrived in my mailbox yesterday. I had been looking forward to its return after a year without City Opera — the only opera company to which I’ve ever subscribed.
It was a big envelope. Black and white logo, very frugal. That seemed good. And the envelope seemed thin. A sign, it seemed, of a sensible frugality in these trying economic times. Continue reading