Vera Maura Hoar’s photos from Artists Without Walls’ July Showcase at The Cell, July 25, 2017
VERA MAURA HOAR’S PHOTOS from ARTISTS WITHOUT WALLS’ JULY SHOWCASE at THE CELL
“ARTISTS WITHOUT WALLS’ JULY SHOWCASE” by VINCE NAUHEIMER with PHOTOS by VERA MAURA HOAR
Many thanks to Artists Without Walls’ cofounders Charles Hale and Niamh Hyland for another great Showcase at the Cell Theatre. The artistic presentations ran the gamut: Poetry, film, music and storytelling. Playing to a standing-room-only house, the skilled performers generously shared their talents with Artists Without Walls’ members, friends and guests.
The Michi Fuji trio, with Michi, violin, David Hofstra, bass and Joel Forester, piano, opened the show. The trio played two of Foster’s original compositions, which had the audience swaying and tapping their feet to the beat. Michi, a Japanese born violinist, who has found her niche in jazz, delighted the audience with her dazzling performances in both works.
Ron Vazzano followed with a poetry reading, a unique and nuanced performance, combining reading and singing skills. Ron either recited or sang a verse from a song, always relevant to the pithy poem that followed. His reading of “Comey Quartet,” incorporated lines from both Joni Mitchell’s “Both Sides Now” and Simon and Garfunkel’s “Sounds of Silence.” Then, incorporating lines from Charlie Chaplin’s “Smile,” Ron created the warm sound of singer Nat King Cole. He then wrapped a poem around the music, which described daily life in a nursing home. His reading of the poem beautifully enhanced his poem’s message.
Next up was the lovely Christina Jolie Breza, who was accompanied by pianist Gabriel Charles. Christina presented the love story of her life in story and song. Her stories and choices of songs, “Basket Case” by Green Day and “Falling Slowly” from the musical “Once” held deep and special meaning; She was talking and singing about her husband, Gui. Christina’s presence and grace on the Artists Without Walls’ stage is always well received by the adoring audience.
After accompanying Christina on the piano, Gabriel took center stage. In the past, Gabriel has provided piano accompaniment for performers at Artists Without Walls’ Showcases but on Tuesday he made his debut as a soloist, backed up by vocalists Jasmine Brown and Jenna McDonald. Gabriel sang two songs from his recently released, inspirational CD “Free Falling.” It was the first time religously inspired music was presented at an Artists Without Walls’ Showcase and judging by the audience’s receptivity, it won’t be the last.
A surprise is always an unexpected pleasure and London’s Amanda Thorpe’s appearance was no exception. Backed by vocalists Serena Jost and Teresa Sareo, Amanda performed an impromptu, melodious tune, filled with harmony that was reminiscent of folk music’s heyday. Many thanks to Amanda, Serena and Theresa for this special treat.
Gary Ryan followed with a short story filled with vivid details from his childhood on the east side of the Mississippi River, in the hill country of Mississippi. The story centered on a “big old dog” that had been tearing up his family’s back yard at night and their effort to get rid of it. After hearing the story, it’s no wonder that the event has captivated Gary all these years later and that he felt moved to write about it. A compelling story in the hands of a compelling storyteller.
Artists Without Walls’ charter member, filmmaker and editor Sam Adelman delighted the audience, presenting an episode from “Don’t Shoot the Messenger,” a comedy series that can be seen here. The series explores the humorous side of communication between people who use signing as a language and those who don’t. Episode six, which delighted the audience, dealt with the humor that arises when a person thinks they know sign language, but doesn’t.
The duo of Anana Kay and Iraki Gabriel, who emigrated from Georgia in the USSR, wrapped up the entertainment portion of the evening. The talented couple presented a video of their work and followed with a song, “American Smile.” Anna and Irakli capped off a wonderful and varied AWoW showcase.
Join us for the next Artists Without Walls’ Showcase at The Cell on August 22nd. The doors and bar open at 6:45 and the performances begin at 7:30.
All photos by Vera Maura Hoar
WHAT THE …"L" by RON VAZZANO
I was so looking forward to the “L” in the logo, and in every promotion and ad. But in announcing Super Bowl “50” this year, “they” have decided to deep six this whole Roman number thing from here on in, and go Arabic.
Though given the troubles in the Middle East, don’t be surprised to hear someone declare: “When I’m President we won’t be using Arabic numbers, I can tell ya’ that right now.”
I was so ready to point out that this would be the last time that a single Roman numbered letter would be used to designate a Super Bowl, until “C”! In other words, until 2066. When those of us of a certain age, will certainly be dead. (Don’t you hate when that happens?). And that it has now been 40 years since the last single letter marked still another over-hyped and much anticipated Sunday—“X” (a game played in MCMLXXVI).
With “X” being an unknown factor, it is unsurprising that I have no recollection of that game. But really, by that point I had stopped caring, what with so many more important life events just up ahead. Like Divorce “I” and then just prior to Super Bowl XLV, Divorce “II”.
Of course I remember the first Super Bowl very well. It was trumpeted in all the on-air TV promos, as if the Second Coming. Though hype is not exactly something that hasn’t existed throughout the ages. (“Mary Stuart gets the ax tomorrow. News at XI!”).
I also remember Super Bowl II, and most especially “III”, when Joe Willie Namath guaranteed that his New York Jets from the upstart American Football League would—and did— defeat the powerhouse Baltimore Colts of the supposed superior National Football League. The Jets were 17 points underdogs that day. That’s a lot of points. Even in Latin. Though I had forgotten how dorky its logo.
The other single letter one, “V,” was the first following the AFL-NFL merger, and it would forever serve as the official league championship game. For the record and for those keeping score, those aforementioned Colts, on a field goal by Jim O’Brien, beat the Miami Dolphins in the final five seconds, 16-13.
While I often lean towards nostalgia and love traditions and rites of passage—I even look forward to my annual flu shot—the loss of those Super Bowl designations, are really no skin off my un-Roman nose. (All my Italian roots aside). The use of Roman numbers in titles, events, sequels, dates and the like, has always struck me as a bit pompous. As if to announce that, “This is really important.” Whereas, in its rather convoluted alternative to Arabic numbers, it suggests just the opposite to me.
MCMLXXXVIII as a date for example— which is about the length of a freight train and looks like something foreboding out of ancient history—is simply 1988; the year that Who Framed Roger Rabbit? was released. That’s why I wryly suggested once, that given the humility of Pope Francis I, he might consider referring to himself as Francis1. Or even better, using lower case…francis1.
You don’t even want to know about a Roman calendar and how it is organized, and its days counted. But if you do, you can reference it in a short piece I once offered on the subject called, Kalends and Nones and Ides Oh My! (March, 2013, Muse-Letter)
To cut to the tackle, the monthly date for this year’s Super Bowl would be expressed via a Roman calendar as “VII Ides.” In English and Arabic…February 7. And as I’ve also said before, (with a license I got down at the DRM; the Department of Repeating Myself), this method of date keeping also suggests still one more reason for the fall of the Roman Empire. (Though not of the Roman Polanski).
As for the game itself? Like so many who will watch—and are not in any betting pool— I’ll have no rooting interest in the participants or the score. Or even the ads really (“been there; done that”). Just pass the chicken wings and let’s raise a Bud (remember the “Bud Bowl?”), to the days of Roman numbers past. Who the “L” needs ‘em!
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Ron Vazzano, a writer, poet and actor, has been a frequent contributor to this website as well as performer at Artist Without Walls monthly showcases.
GREAT PERFORMANCES at AWOW'S SHOWCASE at THE CELL THEATRE, 1/26/16
Superb night of entertainment at Artists Without Walls’ Showcase this past Tuesday night at The Cell Theatre. Some familiar faces as well as some new and all extremely talented. Singer/songwriters Izzy Levine and Ella McDonald, high school students from Montclair New Jersey, made their New York City debut, displaying beautiful vocal harmonies and poise. The talented team performed three songs in front of an enthusiastic, full-house audience. Remarkable musicians! I’m sure we’ll be hearing more about them in the future.
Ron Vazzano opened the night with a series of seven poems, collectively entitled Notes on Slumming Through the Continuum, which was accompanied by a dramatic visual presentation. The poems were said to be inspired by a quote of his own making, “Time waits for no man in its mad rush to infinity” (to which he noted, “Yes, in a ‘Trumpian’ fit of self-adoration I’m actually quoting myself”), it was highly applauded by an audience that seemed to hang on every word.
The Mountain Maidens, including Lorraine Berger, Candice Baranello and Marie Mularczyk O’Connell, captured the Awow audience with tight modal Appalachian harmonies wonderful energy and spirit. The room soon became a magical “sing along,” with old familiar mountain tunes and high energy remincent of a Pete Seeger concert. The audience loved the ancient sounds, particularly the “magical two sisters’ sibling rivalry” and its funky lyrics.
Laughter filled the room as David Loughlin and Mary Tierney took the stage in David’s play, THE SENIOR CASE MANAGER. Mary’s touching, yet comedic portrayal of a woman’s desperate need for love, and David’s beleaguered civil servant, who clings to his sanity in a world where the sane don’t always survive. Their quest for love touched our hearts, and made us laugh—what more could one ask for on a cold winter night?
Multifaceted performer Richard Stillman and guitarist Flip Peters gave us a wonderful taste of Jazz Age Vaudeville. Richard started off with a story about Moishe Fiedlespieler and the All Star Klezmer Hot Shots and then went into a tap dancing hat trick dance. Then he wove the narrative into an Irish theme and broke into an Irish step dance while simultaneously playing jigs and reels on the mandolin. The final song was about an old time song and dance man in need of a bit of rejuvenation. Richard’s mix of storytelling, singing, instrumental music and tap dancing always leaves AWOW audiences with a warm glow in their hearts. Richard and Flip will be performing their Spirit of Vaudeville show in Brooklyn, NY on Feb 16, in Montclair, NJ on Feb 21 and in Watchung, NJ on Apr. 16. For details click here.
Craig MacArthur, actor and Fitzmaurice voice work instructor, made his AWoW debut on Tuesday with a riveting performance from “Misterman” by Enda Walsh. Using multiple voices and dialects Craig held the audience rapt with a stunning performance. The full show, which runs 85 minutes, had its Western Regional premiere in Pagosa Springs, Colorado, last year. Upcoming roles for Craig include Kaffee in A “Few Good Men” by Aaron Sorkin.
The next Artists Without Walls’ Showcase–its Anniversary Showcase, which will be a great evening of entertainment–is on Tuesday, February 23rd at The Cell Theatre. Also, next Thursday, February 4th, keep in mind “Marty Plevel and Artists Without Walls presents “A Night at Sid Gold’s.”
Photos by Mitch Traphagen.
MITCH TRAPHAGEN'S PHOTO from ARTISTS WITHOUT WALLS' SHOWCASE at THE CELL THEATRE, 01/26/16
Mitch Traphagen’s photos from Artists Without Walls’ Showcase at The Cell, 1/26/16.
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ARTISTS WITHOUT WALLS, TONIGHT, at THE CELL THEATRE in NYC
“It made for an event the likes of which you will rarely, if ever, experience. A melding of artists within the walls… it was a memorable night. Yes, it was that good,” said writer Ron Vazzano about a recent Artists Without Walls’ Showcase in Kathleen Bennet Bastis’s art gallery. Ron will be opening tonight’s (Tuesday, January 26) Showcase at The Cell Theatre with a new multimedia creation.
Richard Stillman, accompanied by Flip Peters, perform a few numbers from, “The Spirit of Vaudeville,” a show that won the Best Concert Award at the 2014 United Solo Theater Festival in New York City. Richard writes and performs shows that combine music, storytelling, singing and percussive dance, and plays a wide variety of folk instruments from around the world. As an actor, Richard has performed on Broadway, the Kennedy Center, National tours, PBS Television and in regional theaters from New Jersey to Alaska. He was in “Hamlet” with Rip Torn and Geraldine Page and he performed with Ossie Davis and Ruby Dee in “Take it From the Top.”
Craig MacArthur, actor and Fitzmaurice voice work instructor, will be making his AWoW debut on Tuesday. Craig received his MFA in Acting from Rutgers University and he will be sharing a monologue from “Misterman” by Enda Walsh. The full show, which runs 85 minutes, had its Western Regional premiere in Pagosa Springs, Colorado, last year. Upcoming roles include Kaffee in A “Few Good Men” by Aaron Sorkin.
Not only does Artists Without Walls strive to bring diverse cultures together in artistic achievement, but we aim to give young performers an opportunity to step onto a New York stage as well. Performing at tonight’s Showcase at The Cell will be Izzy Levine, daughter of AWoW member Phoebe Farber, and Ella McDonald. Izzy and Ella are juniors at Montclair High School in Montclair, New Jersey and have been performing together for the past two years. We are thrilled to be presenting them to our AWoW audience.
First time presenters, “Mountain Maidens,” including Marie Mularczyk O’Connell , Candice Baranello and Lorraine Berger, are three voices blended in splendid harmonies that will lift your spirits and warm your heart. They sing ballads, folk songs, love songs, country and gospel songs, including themes of social justice, to the accompaniment of guitars, banjo, dulcimer, mandolin, spoons and castanets. Marie, Candice and Lorraine are greatly inspired by Appalachian mountain music and have brought the deep modal harmonies of this tradition to their repertoire.
AWoW regulars, actress Mary Tierney and playwright David Loughlin will be performing a scene from David’s “The Senior Case Manager, a comedy about civil service, devil’s food, red-headed rivals,space aliens, intense loneliness, and unrequited love… and all in less than twelve minutes.
Niamh Hyland and Charles R. Hale, Artists Without Walls’ Artistic Directors, will be emceeing the event. The doors and the bar at The Cell Theatre, which is located at 338 W23rd St., open at 6;45. Hope to see you there.
"THE NIGHT THE LIGHTS WENT OUT" by RON VAZZANO
THE NIGHT THE LIGHTS WENT OUT
by RON VAZZANO
November 9, 1965
As we were about to sit down to an early family dinner of spaghetti and meatballs, the apartment suddenly went dark. “What the…?”
Our first thoughts were to blame it on the faulty maintenance that characterized our tenement building. Then looking out the window and seeing we were not alone, shifting the blame to our faulty neighborhood instead. But upon turning on my trusty transistor radio, we immediately realized that the likes of this (affecting 30 million people), was unprecedented and heretofore unimaginable. (I was yet to experience my first big California earthquake. Nor heretofore, had ever used the word “heretofore.”). Now coming up on its 50th anniversary, I’m talking of course about The Great Northeastern Blackout of 1965.
There was some initial concern that this could have been some dastardly deed by Boris Badenov. Were the Soviets about to attack? Not so farfetched, for the world as we knew it seemed to be turning upside down.
Just three autumns prior, the Cuban Missile Crisis brought us as close as the world had ever been to a nuclear war. (Bond & Kennedy: 17 Days in October, OCTOBER, 2012 MUSE-LETTER). And the assassination of JFK, with its cornucopia of conspiracy theories to follow, was only two years behind us and almost to the day. (A Triptych in Remembrance on the Death of JFK, NOVEMBER, 2013 MUSE-LETTER). Context, as always, is everything. If it happened today, who would not first think— terrorists!?
But soon enough it would be attributed to human error; someone asleep at the switch on the Ontario side of Niagara Falls in Canada (“Our Neighbor to the North”). Phew.
Thank God, that neither He (in “an act of God”), nor the Reds were responsible… merely mortal incompetence.
This was said to be “The Good Blackout.” The New York Times reported that:
“Despite the confusion, there were very few cases of rioting, looting or other crimes during the blackout. For the most part, New Yorkers shared flashlights and supplies, and interacted with neighbors.”
A light comedy would be made about this night three years later, starring Doris Day, “Where Were You When the Lights Went Out?” It was a godawful movie. But better, was actually walking the streets on that night under a full moon shining brightly; a scene so surreal as if out of “The Twilight Zone.”
People were in the middle of the streets directing traffic in the absence of traffic lights, and in the absence of cops in crisis mode spread too thin. The city was a scene of improvisation.
But no harm no foul. And in thirteen hours, electricity would be restored to most of the areas affecting those 30 million across seven states. And as we now understood the cause of it all, surely this was something we could correct. Surely, such a hemorrhage in the infrastructure could never happen again. But of course it did.
A dozen years later in a sweltering summer, the “Summer of Sam,” the summer when the Bronx was burning, came what came to be called the “Bad Blackout.” For the news this time, was about far less than civilized behavior. Albeit commemorative buttons— one of which I still own—noted this dubious event.
And, “Doh!” not again? But yes, in 2003— a blackout even more massive and widespread than that of 1965. (For those keeping score at home, 55 million people impacted this time around. And at 25 hours, lasting almost twice as long.). And again the explanation: stuff happens.
Being left in the dark, literally and figuratively, triggers a sense of vulnerability and fear. And that would especially be the case today in a post 9/11 world, with its increasingly “hackable” technologies. We are no longer safe. “Stuff” doesn’t just happen, it is intended.
In a recent piece in The New York Times, ominously entitled “Infrastructure Armageddon,” there were these chilling bits of news and speculation:
“Over the last four years, foreign hackers have stolen source code and blueprints to the oil and water pipelines and power grid of the United States and have infiltrated the Department of Energy’s network 150 times.”
“…former Defense Secretary Leon Panetta warned in 2012: ‘They could contaminate the water supply in major cities, or shut down the power grid across large parts of the country.’”
“Last year, the Department of Homeland Security announced that it was investigating an attack against 1,000 energy companies across Europe and North America.”
Hmmm.
Northeast blackouts will seem like quaint inconveniences in the face of what has been referred to, as these potential “cyber-Pearl Harbor” attacks. Nothing seems too farfetched. It didn’t for a while on that night in ’65, and it most certainly doesn’t fifty years later.
But I’ll not think of these things this November 9th, when I sit down to a spaghetti and meatballs dinner by candlelight, with someone who was entrapped on the subway that night.
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Ron Vazzano’s poetry has appeared in several literary publications, and in his published collection, “Shots from a Passing Car,” as well as NPR and the internet. His popular blog “Muse-Letter” (www.domenicapress.com) comprised of his essays, poems and reviews, is now in its 11th year.
As a reader performer of his work, he has been featured at Barnes & Noble and many independent bookstores, festivals, clubs, and now regularly at The Cell in Chelsea, as a member of the performance company Artists Without Walls.
A KISS REMEMBERED by RON VAZZANO
Unconditional Surrender: A Kiss Reconsidered
by Ron Vazzano
The 15th of August represented the 70th anniversary of the news that Japan had surrendered, which in effect ended World War II. Called V-J Day— though technically that is September 2nd with the signing of formal documents— it was a day of euphoria in which people took to the streets across America in a collective spontaneous celebration.
One overly exuberant (and inebriated) sailor in Times Square, took liberties in kissing seemingly every woman in his path. Famed photographer Alfred Eisenstaedt captured one of those unsolicited kisses planted on a non-consenting nurse—full on-mouth with 45 degree body dip for added flare— in what has arguably become the most iconic of photographs ever taken. And it has only been within the last three years, that the participants, both of whom are still living, have been positively identified as George Mendonça and Greta Zimmer Friedman.
And as a particularly interesting footnote, Mendonça was with his date on that day of his serial kissing; a woman named Rita, whom he would come to marry. (She is standing in the background of the photo.). And according to a news story that ran not long ago, they were approaching their 69th wedding anniversary.
That moment in turn, has inspired a series of sculptures by artist Seward Johnson, which in an obvious play on words, he entitled Unconditional Surrender. The original was first installed in Sarasota in 2007, and it has since moved about as if on tour, to San Diego, Hamilton, New Jersey, Pearl Harbor, New York— in Times Square of course. And when it showed up last year in Normandy, France, a French feminist group petitioned to have it removed immediately, claiming that it depicts an act of sexual assault on a woman who did not give verbal consent to being kissed, and essentially being manhandled.
When I caught sight of it recently, it did now seem a bit icky. Especially given its mammoth 25-foot size, which only magnifies the transgression as evidenced once again, by the nurse’s posture and body language. It can hardly be called compliant.
But beyond what is debatable about the appropriateness of that kiss, is that it emerged from a state of mass and spontaneous—the operative word here— euphoria. When did that last happen? Where people took to the streets to celebrate as one? And under what circumstances can you imagine something like that ever happening again?
Yes, we celebrate each New Year in this very Times Square. As we do Mardi Gras in New Orleans. As we do in parades for one thing or another in the cities and towns across America every year. But all are planned and well-orchestrated. What now would make us suddenly, and joyously, take to the streets unscripted? If anything, more the likely we would “take to the Tweets.” But even in that contemporary forum of spontaneous expression, there would no doubt be dispute, with not everyone being on the same virtual page. Which brings one to consider war itself: what winning of what war today would be cause for celebration? How do we even define war any more, much less what constitutes the winning of one?
Ultimately what grabbed me looking at that statue, is how much more complex our life and times have become; how less black and white than that summer’s day in ‘45.
With that, we made our way over to Chez Josephine’s, a retro Paris bistro— circa: pre-war 1930’s— on 42nd Street and 9th Avenue, for a cool drink to beat the summer heat.
FROM A GREEK ISLE LUTIST to an EX 'MAD MEN' POET to B-BOY MELDING IRISH HOOFERS: AN EXCITING NIGHT WITH AWoW
“I’ve been working as an actor for at least twenty five years now and I’ve never before been involved in anything quite like this. AWoW is a unique blessing. So happy to be a member.” Jack O’Connell, actor
“What a night…a jam packed evening of talent journeying from a Greek isle lutist, to an Ex ‘Mad Men’ like poet, to B-Boy Melding Irish Hoofers.” John Munnelly, singer/songwriter
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Hammerstep co-founders Jason Oremus and Garrett Coleman, who have performed at Lincoln Center and the Palace Theatre in London, brought their incredible dance act to AWoW’s May showcase. (Rather than speak about it, check out the short video below.) As a company that strives to embrace traditional elements of culturally rebellious dance forms, while breaking down barriers to how they may be integrated and presented to the public, Hammerstep felt right at home alongside AWoW’s other genre-bending artists who like to think outside the box. “AWoW is a uniquely communal place for artists to celebrate and share in that common goal, and Hammerstep looks forward to having AWoW supporters at its premier run of the company’s NYC-based immersive theater experience INDIGO GREY, next Spring,” said Garrett. For updates on the company’s work, check out Hammerstep on Facebook or at their website by clicking here
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Ron Vazzano offered a quartet of poems that played thematically with a couple of current pop culture events: the concluding of the Mad Men series—as Ron once toiled at an ad agency on Madison Avenue in the late 60’s —and horse racing, which is in the midst of its “Triple Crown” season. He ended with a “sendup poem” about our esteemed group (“…a gathering that called itself “Artists Without Walls”/Though they performed in a space called The Cell”) that was both hilarious and poignant, and enthusiastically received by an audience of fellow artists.
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Maritri Garrett performed one of her hits from the album Soulfolk Experience volume one, “No Regrets,” an anthem for living life to the fullest. She followed that up with a compelling cover of “Royal” by Lorde, which takes on a whole different meaning when taken out of the teen demographic for which it was intended and sung by a mature artist. Maritri finished off her set with Police’s popular tune “Message in a Bottle,” by the Police, which had the audience singing along. This extremely talented women moves from the guitar to the piano to cello–all with a her beautiful voice–with shocking ease. And she’s a delight as well.
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Liv Mammone is a poet who attacks life with a strange combination of joy and rage; humor and pathos. Improvising jokes to set the audience after an accidental fall, she then led them deep into her experience as a disabled woman in a variety of ways–a blues song about her chronic pain; a gripping letter to her grandmother about the death of her friend; a loose litany of images from the morning prior to an operation closed out with an encore of “Vagina Resigning” to lift us back up. With honesty and freshness of image, she shows us the universality of the body’s breakdown and how we rise above those changes.
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John Munnelly compacted the life, times and death of Julius Caesar into a witty three verses and a very catchy sing-along refrain. John is as creative and as strong a writer as his award winning stripes attest to. He sang a paean to love while addressing the escapist daydreams we all have, finally realizing he would be ‘Nowhere without You’. For the final geography lesson John took us to the world’s most hipster borough in his song ‘Brooklyn’ for a gentle dig at the local hood sighing and singing though the eyes of a wide eyed newbie who ‘knew she’d like it here’ – now she’s living in Brooklyn. This one had the crowd laughing and singing along.
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In the true spirit of multiculturalism, Dennis Demakos, who has been playing traditional Greek music and singing the tradtional folk music of dozens of countries from Europe, Asia, and the Middle and Near East for many years, began his performance with a traditional from the island of Karpathos-Gori To Maksellari Sou, My Lass, Your Pillow- a common themed tune in which a young woman usually gives an embroidered handkerchief to a young lad as a token of her affection. The second tune is a traditional from the island of Kassos-To Pathos, Passion- and is another common themed tune about the heartbreak of living in foreign lands away from one’s Mother and homeland. Beautiful and evocative.
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The next Artists Without Walls’ Showcase will be at The Cell Theatre on Tuesday, June 23, 6:45pm. For more info on the group please contact info@artistswithoutwalls.com
Photos by Vera Hoar.
VERA HOAR'S PHOTOS from AWoW's MAY SHOWCASE at THE CELL
Vera Hoar’s photos from the Artists Without Walls’ Showcase at The Cell Theatre, May 26, 2015
