This week on Inside the Arts, we tickle your funny bone as art and politics collide in playwright Lee Blessings' Chesapeake, a parody on the funding of public art.
Then, the laughs continue as opera comes alive in the powder room, of all places, with the American premiere of Gisela in Her Bathtub. It is one of two one-act operas, with selections by Samuel Barber presented by the Marigny Opera House and the 9th Ward Opera Company.
This week on Inside the Arts, the 6th longest running show in Broadway history opens this weekend as Summer Lyric Theater presents A Chorus Line.
Then, we’ll tell you about a business opportunity for arts entrepreneurs. The Catapult Fund, a program of the New Orleans Jazz and Heritage Foundation, is seeking applications from arts- and culture-based businesses in Louisiana.
And we round out with the Big Easy Buddies’ Under the Boardwalk at Le Petit Theatre.
Airs Tuesdays at 1:00 p.m. and Thursdays at 8:35 a.m.
This week on Inside the Arts, the 20th Essence Festival kicks off Independence weekend. We catch up with Prince protégé, singer Elisa Fiorillo Dease, who will perform with the pop icon in the Superdome.
The party with a purpose, Essence, continues with activities in the Morial Convention Center. We talk with author Jason Mott. His bestseller, The Returned, is the basis for the hit ABC TV series, Resurrection.
And, we round out with a song that takes a look at the World Cup through the eyes of the players.
This week on Inside the Arts, we stroll down memory lane as the American Theater Project of New Orleans presents Dryades Street Divas Review: A Cabaret, with a cast representing artists who worked the "chitlin' circuit" back in the day. Those artists include the likes of Etta James, Billie Holiday, Mahalia Jackson and "Moms" Mabley.
Then, in Kenner, the Rivertown Theater's Patchwork Players open with Aladdin.
And, in the city where jazz was born, harpists gear up for a concert that will make their heavenly instruments swing.
Angus Lind’s column in The Times-Picayune documented things that he described as, “a little offbeat”: people, places and events that gave New Orleans its local color. But that didn’t come until later in his career. When he got started in the early 1970s as a young man, Angus was a general-assignment reporter who cut his teeth on a series of tragic events within a single calendar year.