“I have a 40-minute talk I give about my dad,” says Victoria Price in a phone interview with Free Press Houston. The talk includes home movies and pictures. “It covers my dad’s career and philosophy of life.”

Vincent Price in addition to being a renown actor in movies, first in great character roles in many classic films like Laura (1944), at a certain point in the late-50s and 60s evolved into the go-to actor for the macabre.

Think of movies like The Tingler (1959), The Masque of the Red Death (1964), The Tomb of Ligeia (1964), and the Conqueror Worm (1968). In the same decade Price would pop up as a guest star in cult television series like The Man From U.N.C.L.E. (The Foxes and Hounds Affair, 1965) and a seven-episode stint on Batman (’66-’67) as the villain Egghead.

Price was also a gourmet, and “A Treasury of Great Recipes,” first published in 1965 is considered a classic among books, and not just cookbooks. Price drew on his experience as a traveler and obtained recipes from the greatest restaurants in the greatest cities.

But there’s levity to the book in that Price covered the waterfront. He went to the finest restaurants in Paris and he also sought food from places like the local ballpark. Price will advise one to squeeze the spinach dry of moisture as much as he will extoll the virtues of a planked baked fish, browned and surrounded with colorful veggies.

Vincent Price was generous to his fans. I personally know that when Price was in Houston in the early ‘80s performing his one-man Oscar Wilde show that he spent a couple of hours singing autographs for a friend of mine who had a voluminous collection of Price-related photos, posters and lobby cards. “He never said no,” says Victoria. “In 1936 he starred in the Broadway play “Victoria Regina” with Helen Hayes. She taught him that an actor is a public servant. It really said to him that you never say no to your fans. Who you are as an actor depends on having an audience. Otherwise who are you?” asks Victoria.

On any given day of her childhood Victoria might have hung out with friends of her father like Jane Russell or Robert Mitchum. “I had this incredible afternoon where Mitchum told these stories – not just about my dad. Stories about how he hopped a train to get to Hollywood. Really neat stories about his life,” says Victoria.

Vincent Price’s legacy extended into the ‘80s with Michael Jackson’s “Thriller,” plus roles in films like Lindsay Anderson’s The Whales of August (1987) and Tim Burton’s Edward Scissorhands (1990). Victoria appeared as an extra in Edward Scissorhands. “Tim thought it would be a fun thing, sort of a family affair so that’s how it came about,” says Victoria. Previously, Price had narrated one of Burton’s early short films, aptly titled Vincent (1982).

Vincent Price passed away in 1993 at the age of 82. His work in over 200 plays, television shows and movies are a legacy to those who enjoy great performances and the occasional clever scare.

A website dedicated to Price’s career (Vincent Price – The Master of Menace) can be found here.

Additionally this website (Cooking with Vincent) extolls the virtues of his book of recipes.

— Michael Bergeron

— photo credit for Vincent Price tasting food picture: Eliot Elisofon

Peter Pan 360, located in a air-controlled tent at the Southeast corner of Highway 59 and Loop 610 (former Houston Post Office property now owned by Houston Chronicle), offers a circular stage and a cyclorama above everyone’s heads wherein front mounted projectors display a continuous virtual projection of London along with a sea cove containing a pirate’s ship. The cyc creates a type of immersive environment that is constantly moving.

When we’re on a pirate ship there’s always a flag waving or a waterfall along the nearby shore. When we’re at the home of the Darlings the city lights of London twinkle outside. The highlight of the play are two generously paced flying sequence where Pan and the Darling kids fly several miles from their home, through London and to the pirate ship. No matter where you are sitting you follow the going-to flight and the return flight with a reverse angle aspect.

Pan and company fly under the London Bridge and other arches. The whole perspective gives you a vertigo effect and the actors suspended on wires look like they are really airborne. The two flight sequences last for several minutes each and the choreography is impressive.

But then there is the laughter of little children. Youngsters can reduce an adult to sentiment by the power of their innocent laughter. Of course, the tyke behind me constantly kicking the back of my seat while he laughed his head off with parental approval aggravated this feeling.

Peter Pan is a timeless tale that never gets old. Parking is $15. There is a caveat to enjoying this particular stage production. The ambient noise created by the air conditioning and the generators that are running the tent’s electricity give off a sound like a record player spinning music with a noticeable buzz because the player is not grounded. Peter Pan 360 will be running in Houston until October 17.

— Michael Bergeron

Bogdanovich hit big with his second feature The Last Picture Show (1972), which was nominated for eight Academy Awards, winning two. Many of his films since have mined classic comic tropes and She’s Funny That Way is no exception. Owen Wilson headlines as a Broadway director who has a thing for escorts much to the dismay of his wife (Kathryn Hahn). Hahn and Rhys Ifans play actors in Wilson’s latest play, along with Will Forte as the playwright and Jennifer Aniston as Forte neurotic girlfriend, who also happens to be a therapist.

Imogen Potts shares top billing with Wilson as an escort who also auditions for his play and at the insistence of Hahn gets the part of a prostitute. In a methodic manner everyone soon learns about everyone else’s dirty laundry.

Owen Wilson’s character is named Arnold Albertson but he uses the pseudonym Derek when he is with an escort. Is this a reference to the name Derek Thomas, a nom de plume Bogdanovich used on a Roger Corman picture titled Voyage to the Planet of Prehistoric Women?

“Let me clarify that, I didn’t make that film,” Bogdanovich tells Free Press Houston in a phone interview. “It was a Russian science fiction movie that Roger bought and which AIP wouldn’t buy from him until there were women in it. It was all male Russian astronauts on Venus. Roger asked me if I would put some women in it. He’d already hired Mamie Van Doren. I shot for about a week down on Leo Carillo Beach, which Roger thought would be a good match for the Black Sea. For some reason people think I directed the whole thing, but I certainly only directed about 10-minutes of it.”

She’s Funny That Way begins with an allusion to the Lana Turner story of how she was discovered at a soda shop. In a way this reiterates the line from John Ford’s (one of Bogdanovich’s favorite directors) The Man Who Shot Liberty Valance: “When the legend becomes fact, print the legend.”

This leads the conversation to Bogdanovich’s 2024 film The Cat’s Meow, which purports that Randolph Hearst shot silent film director Thomas Ince aboard his yacht in 1924, a contradiction of the cover story that Ince died shortly afterwards of intestinal problems.

“Nobody knows, that was the report,” says Bogdanovich. “That was what the Hearst people put out there. But that doesn’t explain why people saw Ince being carried off the boat with a bandage around his head. There are a lot of questions about that. I can’t swear that our version is absolutely the correct rendition of what happened. But it is something that was told to Orson Welles by Charles Lederer, the writer, who was Marion Davis’ nephew. He told the story to Orson who repeated it to me.”

Welles is another classic director that Bogdanovich wrote about on more than one occasion. Welles’ famously unfinished film The Other Side of the Wind is currently being completed with Bogdanovich as part of the restoration team with the hopes of finishing this year the 100^th anniversary of Welles’ birth.

“I’ve been saying this for almost 30 years. I don’t know if it’s true or not anymore. But I think we’re going to start cutting in September,” says Bogdanovich. “Everything seems to be poised to go forward. They have the money, and are still working on some of the rights problems, clearing titles. But it should work out.”

Bogdanovich actually started in show business in the 1950s as a teenage actor. “That was live television in New York, I didn’t do that many – they were those anthology shows,” recalls Bogdanovich. “One was an adaptation of a Hemingway story called Fifty Grand [Kraft Theatre, 30 April, 1958] that was directed by Sidney Lumet.

“Another show was directed by George Roy Hill. When I was still a teenager I did a lot of acting in summer theaters. For four summers I went to various theaters around the country, Massachusetts, Michigan, and Connecticut, and a summer in New York at Shakespeare in the Park That was all before I was 19.”

She’s Funny That Way was shot in 29 days in New York City at locations including The Cloisters, a museum of medieval art. “I didn’t think they’d let us shoot there but they did,” says Bogdanovich. “We had to work in their time frame and we couldn’t use very bright lights because of the tapestries.” The film also contains a hilarious bit where for no reason a cab driver just stops driving and walks away from the car. “It was a New York moment.”

She’s Funny That Way was executive produced by Wes Anderson and Noah Baumbach. “They call me Pop which I tolerate because I call then son Wes and son Noah,” says Bogdanovich. “They work together, but I got to know them separately, first I met Wes then I met Noah, and have a relation with each of them separate from the other. It was a big help having them as executive producers, to take me to their agency UTA [United Talent Agency] that helped get money together for the film.”

Bogdanovich also uses a cameo with Quentin Tarantino near the end of She’s Funny That Way. “Quentin and I get along. I stayed at his house for a while, he was very kind to let me stay there. I didn’t have a place to stay for a while.”

In the grand scheme of things it’s the eternal return of the circle of Hollywood life. Bogdanovich had let Orson Welles stay at his house when he needed a place to crash. “Orson stayed with me off and on for a couple of years. He was often there between 1972 and 1973, ’76 and ’77, something like that.”

One of my personal favorite Bogdanovich appearances was as a guest on the Dick Cavett Show from January 21, 1972. The guests included Robert Altman, Mel Brooks, Bogdanovich and Frank Capra. “At the time I didn’t know any of those guys except Capra. I had interviewed him for a Jimmy Stewart piece I did for Esquire. I didn’t know Mel at that point at all and I didn’t know Bob Altman. I got to know Mel later, I helped him with questions about black and white film for Young Frankenstein. He liked some of my actors and I liked some of his.

“One of the funniest things about that Dick Cavett appearance was that I remembered it after I had done it and thought that I hadn’t said anything,” says Bogdanovich. “I thought I was very quiet. When I saw the goddam thing recently I realized I talked my head off. I even told a Leo McCarey story when we were running out of time.”

She’s Funny That Way opens nationally in theaters today as well on VOD.

— Michael Bergeron

Amaluna unveils a fantasy world where acrobatic feats of derring-do are merged with surreal characters, mixed in with a couple of characters that provide Commedia dell’arte hijinks. I’ve been backstage under the big tent on another occasion when Cirque was in town and believe it, there are weight machines and an exercise room that offer Olympian-esque tools for muscle enhancement. Looking at the performers on display, you can only gaze in amazement at how the muscles of their being are seemingly toned and locked into the execution of a potentially death defying stunt.

Some of the physical movements that quite frankly look impossible involved juggling, where the balls just keep falling from the sky; a team of gyrating bodies doing multiple flips and twists on a seesaw, and with each bounce the guy on the other side of the pivot seems to be getting higher and higher; or a globe filled with water, wherein a petit member of the troupe shows such an ability to bend and sway you wonder what happened to her bones. All the while a group of cool metal music clad sirens wail away on wireless instruments and sing.

Another part of the show had one woman picking up several bone-like pieces of wood of different styles off the floor (bending down, or using her feet) and effortlessly balancing them until the sticks turned into the shape of some kind of animal skeleton. Then by simply removing a single piece of the structure the whole thing comes crashing down to the stage. This performance piece is slow and precise in contrast to the hyperkinetic motion of many of the other parts of the show.

Amaluna will be running daily (except Monday) until March 22.

Another kind of circus is currently housed at the Frenticore Theatre (5108 Navigation).

The Amazing Acro-Cats hold court until February 22. Acro-Cats are trained cats that live a life of feline luxury, have their own cat-friendly decked-out tour bus, and perform circus style for treats. The show lasts around an hour, because let’s face it – cats are only going to entertain the notion that they are interested in what we think for about that long.

After a series of cute tricks the cats perform in a band, along with a chicken on tambourine. One cat plays drums where the sticks are mounted like row-boat-paddles on the snare. Another strums a guitar, while yet another plays keyboards. The thing is, as crazy as this sounds; these cool cats are capable of playing actual music. Certainly, if you’ve ever attended a concert of John Cage music you have been exposed to the kind of discordant avant-garde tunes that are heard from the Acro-Cats.

— Michael Bergeron

Driving across downtown in any direction of I-10, the city’s skyline appears like the rough edge of the shell that holds one of Houston’s most valuable pearls: the Catastrophic Theatre. Funded by locally-owned tattoo shops, restaurants and even the city’s symphony, The Catastrophic Theatre is one of a kind. With Houston’s theatre district now standing as the number two in the United States, only behind New York City with Broadway, The Catastrophic theatre has been providing entertainment without targeting the masses by producing a number of original works. A total of 12 out of the 25 productions have been written by in-house playwrights. In an age overrun by copycats and imitations, Catastrophic Theatre stands out as a bastion of Houstonian creativity.

The Catastrophic Theatre, formed in 2024 by Jason Nodler and Tamarie Cooper, is a breath of fresh air in the theatre scene and, like any respectable theatre that gathers followers, has its own traditions. Every summer, when Houston becomes an oven and everyone gives in to central air-conditioning, the Catastrophic Theatre presents Tamarie Cooper’s very own musicals. With herself as the main character, Tamarie brings the audience a relatable snapshot of her life–illustrating the pains, happiness and randomness of being human.

The summer of 2024 is nothing different. Titled “A Very Tamarie Christmas,” this summer’s Tamarie Cooper musical can be expected by long-time followers to be just as crazy and loud as last year’s Tamarie ventures. The first thing that went through my head when I heard about the show was “Wait, so Tamarie Cooper is talking about Christmas? Tamarie Cooper? The inappropriately genius, dick-joke delivering Tamarie Cooper?”

The average theatregoer, who has never seen any of the previous showings of Tamarie’s soul, might expect a simple Christmas show in the middle of July–a not so uncommon phenomena in theatre. With stores barely a month away from placing Christmas decorations in storefront windows, the festivities of the holiday could be extended through the middle of the year–and how great would that be?

However, the Tamarie Cooper Christmas show is not your average Christmas show, nor is it your average musical. When entering the warehouse-turned-theatre space, you find an enormous picture-frame-like structure with the band sitting behind it. The band is a part of the show, decorated as the performance goes along. The Christmas theme is unified in the set: with a Christmas tree, giant presents and Christmas stockings hanging from the fireplace.

When the show starts, the stage is flooded with the cast dressed appropriately for Christmas time. Ugly sweaters, Santa Claus, and even Jesus dance together until Tamarie comes out to speak about her long-time desire to make a Christmas musical. She is interrupted by several members of the cast who stop her from speaking about Christmas. Their complaints are many: I am Jewish, I am Buddhist, I am atheist–and in the politically correct world, you don’t want to piss them off (or make them feel excluded).

Tamarie and the cast end the number celebrating a non-denominational fest–politically correct and gluten-free: a secular commemoration of an unspecified event. Due to being continuously rejected, Christmas gives up and decides to not be a holiday anymore. Tamarie then goes on to find another holiday that will satisfy the joys of Christmas.

The audience is taken on a quick costume-changing, rapid choreographic dancing and impeccable note-hitting journey through all major and smaller holidays. They find the ups and the downs about each time of the year: Easter, Thanksgiving, Fourth of July and Presidents’ Day have been sold out to consumerism in an attempt to reach larger audiences. The sales targeting the holidays and events being sponsored by big corporations marketing their image around people’s beliefs have become a part of modern life in the United States and abroad.

“A Very Tamarie Christmas” is an awakening to everything society has recently defined as problematic or inappropriate. It draws the line between customs and values–at one moment the family is sitting around the table celebrating Thanksgiving, but when dinner is over, everybody runs to catch Black Friday sales. Tamarie Cooper has been able to write a politically correct show that is as offensive as flags on boobs, as inappropriate as twerking Easter bunnies and as educational as Arbor Day.

The show illustrates how we keep holidays alive out of habit and, as we find out throughout the show: there is nothing wrong with that.  Maybe, even as we decry all of the consumerism and discrimination in Christmas, we still cannot deny that it is the best holiday of them all.

As guaranteed by The Catastrophic Theatre themselves, this will be the first Christmas special we will see all year (beating even the holiday rush). “A Very Tamarie Christmas” will be playing Thursday, Friday and Saturdays from July 18 through August 30 for the price of pay-what-you-can ($25 suggested).

By Mills-McCoin
Photo by George Hixson

On July 12 of this year, Non-Italicized Tamarie Cooper (a name I have chosen to represent the interviewee and will henceforth be identified as “NITC”) released to the world her 16th original musical production. Along with writer/director Jason Nodler, NITC co-founded Houston’s Catastrophic Theatre in September of 2024. NITC is more than a seasoned professional of the theatre as she has been performing her entire life in nearly every capacity including, but not limited to, designer, writer, director, choreographer, actor, producer, sergeant major, greens keeper and Zamboni driver. Her most popular productions include: Tamarie Cooper’s Doomsday Revue, The Tamarie Cooper Show, The United States of Tamarie: An All-American Revue (Made in China), The Tamarie Cooper Show: Journey to the Center of My Brain (in 3-D!).

Where did you get the inspiration to humorously highlight your own age and industry? Is Tamarie Cooper’s OLD AS HELL something you’ve wanted to write for a while?

The idea for this theme came to me last year, actually, while hanging out with my writing partner, Patrick Reynolds. Every year, around this time in the run of my summer show, people start asking me what the next year’s show will be about. Patrick pointed out that we had already tackled broad topics like love, America, and the apocalypse, and that maybe we should do something about me getting old. I snapped back that I would only be 42. Of course, I then realized that 42 + 42 = 84, which is a pretty goal number and that statistically speaking, I am indeed “middle-aged.” My midlife crisis seemed like good material.

What’s the difference between the non-italicized Tamarie Cooper and Tamarie Cooper?

I suppose the italicized version is the caricature version of me. Red wig, jazz hands, a bit more daffiness, and more dick jokes. Wait … the dick jokes are present in both versions of myself.

Does non-italicized Tamarie write with the intention of continuing to develop and enhance Tamarie?  Or is Tamarie, as a character project, completed?

The Tamarie character continues to evolve/morph/expand just like the non-italicized Tamarie.

You’ve written 16 original musicals, all of which have been successes.  Where do you start writing usually — with the music or the plot?

I start with the “plot” as loose as it may be. Basically, I storyboard a bunch of ideas for musical numbers and scenes, toss it back and forth with my writing partner, Patrick, and then get him started fleshing out the book. I then meet with my composer and lyricists and get to work on the tunes.

Have you considered adapting one of your musicals for the silver screen?  Are there plans to write an original musical for the screen in the future?

No current plans for the screen, but I would certainly jump at the opportunity if it presented itself. Same goes for television. I love TV. I could easily see some of my most humiliating real-life moments presented in an HBO-type format like Girls. Although the singing and dancing would have to be handled well — don’t want to be another Cop Rock or Glee. (Note: I like mainstream TV and enjoyed the first season of Glee — after that it went south. There I said it. I’ve even been known to laugh at Everybody Loves Raymond)

In 2024, you co-founded The Catastrophic Theatre.  How does the success of that experience determine what projects and shows you choose to work on now?

Jason Nodler and I founded The Catastrophic Theatre in 2024, but we have been involved in each other’s lives since high school. We have experienced success and failure together, whether working on a play or running the local back in 1992. We don’t have specific rules for what types of plays we choose to direct or create, other than that they are plays about life on earth. I love the diversity in our programming: rock operas, crazy musicals, modern classics, original works by exciting playwrights like Miki Johnson, Mickle Maher, and Lisa D’Amour. Regarding my original work, Jason has always put great trust in my instincts and encourages me to run with whatever ideas bubble up every year. I also enjoy working on other Catastrophic productions, although I have limited my involvement as I am taking time to raise my daughter, Rose, who is three. I will be acting in Marie and Bruce by Wallace Shawn later this year, which is very exciting. Jason originally directed me in the role of Marie back in 1999.

True or False: Catastrophic Theatre’s artistic director, Jason Nodler, is the only thing standing in the way of you exclusively using wild animals in your next musical?

Completely false. The animals are standing in the way. Because I might eat them. Actually, I did try to use a dog once in my 1930s salute, Tamalalia 6. Unfortunately, it was a cast member’s ancient, deaf, blind, little poodle thingy. The poor thing was terrified and confused. It was one of the saddest things I have ever seen. Needless to say, the gag was cut.

Speaking of wild animals, how delightful is it working with Jessica Janes?

Jessica is awesome. She perfectly plays a young version of myself. And really, she’s not that wild — she’s got her shit together way more than I did at her age. She does, however, look great in animal prints.

Tamarie Cooper’s OLD AS HELL runs through August 24 at Catastrophic Theatre (1119 East Freeway)

By Laura Coburn

From the Houston Ballet to the Houston Grand Opera to The Museum of Fine Arts, Houston prides itself on the arts. However, not every city in the world has access to renowned performing and visual arts companies— and that is why the “Cargo Space” came into being.

The Cargo Space is art itself on wheels. The new creative project by Christopher Sperandio and Simon Grennan is a way for people across the Southwest and across the world to experience all forms of art and for artists to engage in creative exchanges.

According to the project leads, the Cargo Space is a project that was built out of need. Sperandio and Grennan acquired a grant from the Rice University’s Humanities Research Center and a Rice transit bus, which they are transforming into a “mobile arts platform.” They describe the bus as a “part rockstar-stye tour bus, part utility vehicle and ultimately a blank platform that sleeps six.”

The vehicle will transport artists and cultural workers in all fields and from across the world to participate in events and other activities designed to promote cultural exchange and expansion.

Assistant Professor of Art in the Department of Visual and Dramatic Arts at Rice University Christopher Sperandio explains the inspiration behind the Cargo Space and his goals for the project:

How did you come up with the idea for the Cargo Space?

It’s been on my mind for more than a dozen years. I’ve done a lot of
research on alternative living practices: folks who build small,
low-budget homes, house boats, and, of course, those who convert
school buses into mobile residences. This research was always that,
just research. Then it began to gel with some ideas that I’d been
having about Houston, and how we desperately need more exchange with
artists and thinkers in other places. The two areas of concern just
dovetailed together. An inexpensive and nontraditional residence for
artists.

Which regions in the United States do you plan to visit?

I hope we can go everywhere the road can take us. I’d love to escape
the boundaries of the US. We could drive to the tip of South America
or up into Canada. We plan to start small, to get the feel of the
thing, and then to push out.

How will you determine which artists to take on tour?

It’s currently by invitation only. I’ve been thinking about different
mechanisms for how we might find artists and writers who would be good
for the project, but we’re right in the thick of installing the
plumbing and electrical systems, so it’s at the back of my mind. I’m
thinking about it, though.

Will artists be required to pay to use the vehicle for tours?

I want to pay artists to be on the bus, not the other way around, but
(and here’s the scandalous part of the interview) there’s more to life
than money! I have an idea that everyone should contribute something.
Right now everyone is volunteering to work on the bus, because it’s a
project that they believe in. I’d like to carry that practice forward.
If you believe in the idea, then you should demonstrably support it
and help improve the project somehow. Build us a killer web site,
improve the gas mileage, make T-shirts for everyone. This isn’t a
major issue, but it is something else that I’ve been thinking about.

Will each tour bring one type of artist at a time (poets, visual artists
or will an assortment of artists go on a tour?

An assortment, definitely. I also don’t want to constrict it to just
those who self-identify as artists. Sociologists? Maybe. Really anyone
who might be able to do something interesting with the experience.

Who do you expect the audience to be? Will the bus visit a certain
type of venue or gallery?

For the most part, there may be no audience. It’s an artwork whose
primary purpose is to engage other artists (practitioners, thinkers,
whatever). We may organize public events around the bus, but sometimes
we’ll just be going somewhere. Sometimes we’ll do something public,
and sometimes the whole thing will be private.

Do you plan to collaborate with other companies to put on events?

I think Cargo Space is the perfect art work for an oil and gas company
to sponsor outright. This is an oil and gas town, and this is an oil
and gas project, literally.

How long will tours last?

Anywhere from days to weeks. It really just depends on who is
involved, where they need or want to go, and what we do when we get
there. I’m open.

How many tour buses do you ultimately plan to use for the project?

When we’re not able to go on the road, I hope to use the parked bus as
a residence for visitors. Any week that the space is empty is a wasted
opportunity. When we can, we’ll take trips. When we can’t, the space
will be a static living space.

When do you expect tours to begin? Where will the first ones go?

As soon as we finish the plumbing and electrical, we’ll get the
vehicle reclassified as an RV. We’ll take a number of shake-down
cruises to make sure everything is working right. Our first official
trip is still top secret. We’ve got our fingers crossed, but we just
can’t say anything until it’s a done deal.
What does the bus look like? How has it been remodeled in terms of
decoration and functionality?

The bus is a 25′ long Blue Bird CS FE. CS stands for commercial
series, and FE stands for front engine. The living space consists of a
dinette that seats four, a bench seat for guests, a galley
kitchenette, a lavatory, a bunk room, and a modestly-sized private
cabin in the back. Maximum capacity is six, but I think the most we’ll
travel with, typically, is three or four. Six people sharing a 200
square foot living space seems a little much for anything but a long
weekend in the mountains, or at the beach. A future phase of the
project (funding permitting) is to add a walkable roof rack that can
support the weight of six people. We’re also thinking about installing
a 90″ wide high definition video screen in the back window, facing
outwards. We’ll be able to roll up on spots and do impromptu
screenings, play games and figure out ways for people to interact via
their smart phones.

Is there anything else people should know about the Cargo Space?

It’s not too late to get involved! If you think you have some
serviceable skill, or free time, raw enthusiasm and a sense of
commitment, email us. Innovation is a rare creature, and should be
supported whenever it appears, so give us money. Your contribution is
tax-deductible and you can do it online at thecargospace.com

To see more pictures and learn more about the Cargo Space check them out online!

Blog: http://thecargospace.com/post/52869343835/unistrutting-our-stuff

Facebook: https://www.facebook.com/TheCargoSpace

As we all know, whether you’re an art fanatic or could care less, Pablo Ruiz y Picasso was arguably the most influential artist of the 20th century. He was a painter, sculptor, ceramist, set designer, and print maker. Historians estimate that Picasso generated anywhere from 20,000 to 50,000 works during his 75 years of art making. He also pioneered the Cubist movement and advanced the plastic arts. As one might expect, a person like Picasso must have had a unique philosophy to match his iconic work. After a lifetime admiring Pablo Picasso and countless hours researching the Spanish artist, Herbert Siguenza–actor, playwright, artist, and cofounder of the hit latino comedy troupe Culture Clash–brings the singular personality of Pablo Picasso to the stage in his one man act, A Weekend With Pablo Picasso. 

From February 2 to the 27, The Alley Theatre will play host to A Weekend With Pablo Picasso. In A Weekend With Pablo Picasso, Picasso’s art dealer asks him to make six paintings and three vases over the course of a week. Picasso unwillingly complies to the overwhelming request. It just so happens that very week Picasso has agreed to allow a small group of students (the audience) to stay with him in his home. As Picasso hastily paints and moves about his courters, he lectures his pupils on how painting is the only avenue to discovering truth, why an individual would want to subject themselves to the tortures of art making, and the personal sacrifices that he has made to become a momentous artist.

As Herbert Siguenza plays the part of a self aware and brilliant Picosso, he is simultaneously painting and drawing Picosso lookalikes. Siguenza’s impressive multitasking has been regarded as remarkable, a thrilling joy to watch. For Siguenza doesn’t make a shallow attempt to mimic Pablo Picosso. According to critics and audiences alike, one can see that Siguenza has himself been a student of Picasso’s works for decades.

For more information, please visit www.thealleytheatre.com