The concept development of “Peoples Screen” was inspired in part by 3D street art as a DIY tradition, referencing the subversive language of graffiti. The interface borrows from the “topoi” of the computer game, as a means to navigate the environment; once within the frame the audience becomes a character immersed within the environment. “Peoples Screen” linked two geographically distant audiences using a telematics technique; the installation takes live oblique camera shots from above the screen of each of these two audience groups, located on a large 64 square metre blue ground sheet and combines them on screen in a single composited image.
After forming Slasher Films in 2010, “Nothing Left to Fear” was always to be his first feature production project. Soon, the family’s view of this seemingly placid rural idyll turns as the town’s eerie past scrapes to the surface. (Stull really is the subject of myriad urban legends, thanks to long circulating rumours claiming that its cemetery is a supposed gateway to Hell)..
Federal government documents, we entered through a clock shop before being split up and sent to various rooms.Several patrons were dressed in period outfits such as dresses with sparkling rope necklaces, which can be rented from the theatre.Me and my companion Armstrong Gossy of the San Francisco Tourist Association were escorted into the cabaret, where musicians were playing various instruments including a grand piano.Sitting behind a cloth covered table fitted with a sometimes flickering electric lamp, we faced the stage where emcee Nathan Marken banter reminded me of comedy song and dance man Eddie Cantor.I seen Cantor on television in the 1950s, but hush, I can mention TV, since it supposed to be 1923.Despite his stage name, I told Marken character is based on several old time entertainers.Other performers came and went, including chanteuse Velma Louise Cole, who was well played by Em Lee Reaves, plus a hilarious mind reader.A bevy of beauties wore a variety of scanty for the times outfits and wigs during 14 costume changes.A young woman in a bar set, kept trying to talk her into taking her home, and briefly followed him into the cabaret.Several guests were invited on stage or were chatted up by actors, and there was a touching scene between a gangster and a chorus girl, whose relationship ebbed and ended in a tale of love won and lost.The classy, spellbinding show included about 50 different period musical numbers, including Ain We Got Fun and a highly recognizable, knee grabbing Charleston dance routine.The 1,487 page script for this successful show in the by the Bay has 35 interlocking storylines with one or two characters delivering monologues or short scenes that are more like conversations.Action is constant in several period set rooms we visited before returning to the cabaret and finally a small gallery where emotionally troubled Velma took poison to avoid getting old and forgotten.’Police raid’Then suddenly a loud banging erupted on a nearby door, followed by a badge wielding man wearing a fedora and a trenchcoat loudly proclaiming a raid. Back to the present, we climbed upstairs to the sidewalk, just as another was emptying bottles of pretend into drains.No real officers were there to badger us, mind you, so the cast and crew of The Speakeasy could breathe easy until their next show.Ticket buyers will receive a message the day before their reservation with instructions on where to go. Dollars), not including drinks, food, tax or tips.