ATLRetro

This Week’s Kool Kat of the Week, award-winning playwright Lauren Gunderson hails from Decatur and joins a cast of fantastic local writers and performers at the 2017 Essential Theatre Play Festival, running through August 27 at the West End Performing Arts Center. Her Victorian-era play ADA & THE MEMORY ENGINE depicts the life and times of mathematician (credited as being the first computer programmer in history) Ada Byron Lovelace takes the stage in all its wounded, beautiful glory (schedule of performances here). In addition to Gunderson’s play, performances at the festival also include 2017 Essential Theatre Playwright Award winner G.M. Lupo’s ANOTHER MOTHER, and Dad’s Garage company member and writer for Turner Classic Movies, John D. Babcock III’s one-man show about legendary actor-director John Cassavetes, INDEPENDENT. If you love history, science, and formidable women, come on out and catch a glimpse of Gunderson’s lively portrayal of Ada Byron Lovelace, one of history’s forgotten gals of science, while supporting your local theatre!

Gunderson, named by American Theatre Magazine as the Most Produced Living American Playwright of 2016 hails from Decatur and has rejoined her Essential Theatre family with the East Coast Premiere of her homage to the forgotten women of science, ADA & THE MEMORY ENGINE, directed by Essential’s Ellen McQueen, and starring Ashley Anderson as “Ada,” Mark Cosby as “Charles Babbage,” and Brandon Partrick as “Lord Lovelace.” Gunderson’s writing career began to take root with her first play, Parts They Call Deep, winning the first Essential Theatre Playwriting Award in 2001, followed by her second ETPA award in 2004. She went on to procure other envied awards including the Steinberg/ATCA New Play Award, Aurora Theatre’s Global Age Award, the Eric Bentley New Play Award and the Dramatists Guild’s Lanford Wilson Award. Gunderson continues her prolific writing career, spinning tales for the stage and in the pages of children’s books (Dr. Wonderful and Her Dog: Blast Off to the Moon!).  Atlanta will have the opportunity to experience more of her works in the coming months at Theatrical Outfit and Synchronicity Theatre, which if they’re anything like ADA, we at ATLRetro be dying to catch them! We caught up with Gunderson for a quick chat about her love of writing, what draws her to the forgotten women of science, and coming home to her Decatur/Atlanta roots.

Lauren Gunderson

ATLRetro: You hail from Decatur. Was there anything you did while growing up here that fed into your ultimate career in theatre?

Lauren Gunderson: I was lucky to be in the care of some amazing theater teachers both in theatre and in the sciences. In high school theater I was lucky enough to play roles in some of the best literature there is, Tennessee Williams and Shakespeare. Lynn Hosking, Peggy Hasty and Olivia Roller allowed me those chances to be onstage and I’ll never forget it. Performing those plays gave me the kind of intimate relationship with good writing that would lead me to having a single clue as to how to write a good play. One of my favorite teachers was Joe Winterschiedt who taught physics at Decatur High. He was such a jubilant and creative science teacher and he opened the door to my understanding that science isn’t just memorizing equations and facts; it’s a completely creative and transcendent approach to knowing and proving what’s true. These are the stories I most often tell in the theatre, the stories of great moments in science, of discovery, of the tough and exciting quest for real truth.

Your first professional play, “Parts They Call Deep” won the Essential Theatre Playwriting Award in 2001, when you were just 18, and you won again for BACKGROUND in 2004. Of course, you went on to win many other awards, but what was it about Essential then that helped nurture you as a beginning playwright?

They gave me my start as a playwright. I didn’t even know if I’d actually written a play until I gave it to Peter Hardy and he said, “It is a play AND it won our new award for Georgia writers!” I’ll always credit Essential Theatre as giving me the boost, the confidence, the experience and the first professional production of my career.

What is it like being back at Essential now. How did this production come about and what’s it like to work with Peter Hardy, director Ellen McQueen and the rest of the company?

It’s an honor. I’m so proud to be in the Essential family of artists. I was working remotely with most of the team because I live in San Francisco. But I have a contingent of Atlanta friends and family who always come to see my work. (Hi MoBo moms! Hi Oakhurst Family! Hi Emory!).

Production Still: Ashley Anderson as “Ada”

How did you become interested in Ada Byron Lovelace and what about her made you think she’d be a great play protagonist? We are in the age of tech and she started it! Hers is an amazing story for me to tell because of the convergence of art and science that swirls around her history. He father was the great poet Lord Byron, her mother was a mathematician and the company she kept included the greatest minds in England. She was a visionary, a rebel, a feminist before feminism, and a woman of passion and skill. She’s also deeply flawed and broken. That makes her a great human to build a story around.

What research did you do to write the play? Were you surprised by anything you discovered about Ada?

The most fun I had while researching was visiting the Computer History Museum out here in Palo Alto, CA, where they have a working full-scale model of Babbage‘s Difference Engine (his calculator). They actually run it once a day out here and it’s a sight to see. It’s as tall as a bus and about 10 feet long. The clanging and clacking when it’s calculating is mesmerizing. I took video. So cool. Check out the video here.

Also the wonderful spirited repartee between Ada and Charles Babbage. How much of that comes from their letters versus your imagination?

Many of the letters you hear in the play are taken directly from their actual correspondence. The sass and sexual tension is all mine! (Heh!)

When and where was the play first produced? Any anecdote about that production?

I wrote it for a company here in Berkeley called Central Works, for my friend and actor Kat Zdan as “Ada” and Kevin Clarke as “Babbage.” It was a dream to write for them and a wild process putting the play together. Much like Essential’s production, the premiere was a small company, a simple production – very intimate. I think the play works well like that. But the premiere had only 4 actors and Essential is doing it without doubling – a larger cast, a bigger landscape of characters.  The original song sung in the play was written by the incredible band The Kilbanes (Kate Kilbane and Dan Schlessinger). They wrote something magnificent for the show – mathematical, moving, soaring, sad, and beautiful. I’m so impressed with it. I sing it to myself often. You can hear it on the tumblr page here.

Production Still: (l-r) Ashley Anderson, Mark Cosby (as “Babbage”)

Without giving away spoilers, Ada’s “reading aloud” of “She Walks In Beauty” frames the play. Why this particular short work rather than another of Lord Byron’s many poems?

This was the first Byron poem I remember and it still haunts me – the elegance, the meter, the imagery. I find it terribly romantic.

What was the most challenging part of writing ADA AND THE MEMORY ENGINE?

The ending. Even though the final scene was the first one I wrote, it asks a lot of the actors, the play, and the audience to go with me. But I think it surprises you and deepens the story beyond where you might think it could go.

Do have a favorite scene, either that was fun to write or that when you see the play performed, you are especially delighted by?

I love their fight at the beginning of Act 2. It’s so great to see the actors let loose and get messy with their emotions.

This isn’t your first play about forgotten women scientists. Who else have you written about, what draws you to this theme, and will there be more in your future writing?

I write a lot about science and particularly women in science. Partly because GO LADIES OF SCIENCE! And partly because there is inherently more struggle in a woman’s story than in a man’s. The world is tougher for her – it’s biased, it judges, it wants her to fail. That’s even before she gets into a male dominated field like tech or the sciences. More struggles mean more obstacles mean better drama.

It’s hard to earn a living as a playwright (or as a writer in general) but you were dubbed the Most Produced Living American Playwright in 2016 by American Theatre Magazine. What’s your secret and do you have any advice for young playwrights?

Production Still: Mark Cosby, Ashley Anderson

I write a lot. I write fast. That is, in no short order, why I’m on that list. I love to write, I love figuring out the way a story works. Writing is like solving a mystery or cracking a puzzle. I love the work, which also means I do a lot of it. If you want to be a playwright, see a lot of plays, read about dramatic structure, and write every day.

What are you writing now, or what was your last completed work and when/where can we see those being produced? Any more productions coming up at Essential or any other Atlanta companies?

I’ve got about a thousand things going on including raising two kids and a cat. I am overjoyed that Theatrical Outfit is producing my play MISS BENNET this holiday season, co-written with Margot Melcon. And then Synchronicity Theatre is producing a wild, southern, political feminist farce, THE TAMING next June. Yay plays! I am so grateful to the Atlanta theatre community. It’s so rich with talent! Also my children’s book Dr. Wonderful and Her Dog: Blast Off to the Moon! just came out. It’s about a little girl scientist/adventurer and is pretty awesome with gorgeous illustrations. The Little Shop of Stories has signed copies in Decatur.

What’s your favorite thing to do when you come back to Atlanta/Decatur, and why?

Eat pimento cheese on the porch of my mom’s cabin in the North Georgia mountains, visit The Little Shop of Stories in Decatur to buy books for my boys, visit with friends and drink wine at Donna’s house, see some plays, walk the Highline, hug my friends at Oakhurst Baptist Church.

Photos courtesy of The Essential Theatre and Lauren Gunderson, and used with permission.

By Andrew Kemp
Contributing Writer

The Atlanta Film Festival is back, growing this year into additional venues and an absolutely packed lineup of interesting and entertaining films. ATL Retro will be at the festival all week, logging reviews of films while subsisting on a strict diet of beer and Junior Mints, because journalism matters now more than ever.

If you’re looking for some tips on what to check out during the festival, please enjoy this day-by-day selection of films that we thought might interest the retro-inclined. Of course, any preview such as this can only barely scratch the surface of what the AFF has to offer, so for a more detailed preview be sure to visit the AFF’s official website.

Friday, March 24 — Opening Night

The festival kicks off with its traditional opening night ceremonies, including a screening of Bill Watterson’s DAVE MADE A MAZE, a high-concept comedy about a man whose quest to produce something great and wonderful (presumably on a budget) leads him to construct an elaborate, DIY labyrinth inside his own home. Of course, he promptly gets trapped in his own creation, leaving his loved ones wondering how to mount to rescue (Plaza Theatre, downstairs, @ 7:00pm).

After the show, all those with tickets, as well as badge-holders, are invited to the Opening Night Party taking place at Paris on Ponce until midnight, but be sure to get your butts back to the Plaza to see Lips Down on Dixie stage their show alongside THE ROCKY HORROR PICTURE SHOW(1975), a longtime Plaza tradition that the AFF has happily embraced.

Saturday, March 25

Avondale’s Towne Cinema joins the festival this year as a venue, which is where you’ll want to be to check out TRENCHES OF ROCK, a documentary about the three-decade history of the Christian metal band Bloodgood (Towne Cinema @ 2:30pm).

Jill Campbell’sMR. CHIBBStakes a look at the post-NBA career of former all-star Kenny Anderson, dealing with the fleeting high of fame and celebrity, and the plight of athletes who are faced with spending the rest of their lives in the real world, away from the bright lights of the big time. The film screens with the short film GAME, a narrative short about a kid at the other end of this basketball lifestyle, high school tryouts (Plaza Theatre, downstairs, @ 4:30).

For fans of the Atlanta horror scene, certainly the most anticipated event of the day is the long-awaited debut of SAM & MATTIE PRESENT SPRING BREAK ZOMBIE MASSACRE, featuring members of the local horror community and hosted by the immortal Professor Morte and the Silver Scream Spook Show. Sam Suchmann and Mattie Zufelt drew national attention last year with their Kickstarter campaign to fund the epic zombie movie of their dreams, and the result of that campaign is set for two screenings on Saturday, so you’ll have plenty of opportunities to see the gory results. (Towne Cinema @ 5:30 & 8:30)

Sunday, March 26

Sunday is likely to feature some of the most popular events of the festival week, what with the 25th Anniversary screening of the well-loved Marisa Tomei vehicle MY COUSIN VINNY hitting Plaza Theatre (12:00pm) as the movie half of the “Food on Film” program. Ticket- and badge-holders are invited to head over to the Callanwolde Fine Arts Center after the film for a celebration of grits in southern cooking, and other after-party shenanigans.

Once properly stuffed with southern cuisine, head on over to 7 Stages forMELE MURALS, a documentary about Hawaiian history and culture as seen (and expressed) through the street art of Hawaiians Estria and Prime (7 Stages @ 5:45pm).

The upstairs theatre at the Plaza suffered some damage recently, forcing a venue change for several films to the Druid Hills Presbyterian Church across the street. If you want to visit the venue, and perhaps thank them for helping the Plaza and the festival out in a tight spot, there’s a perfect opportunity when the film WOMAN ON FIRE screens on Sunday night. The film looks at the story of Brooke Guinan, New York’s first transgender firefighter (8:00pm).

But whatever you do, be sure to get back to the Plaza early enough to get a good seat for the perennially popular PUPPET SLAM, featuring local performers and riotous scenes of little felt people doing at least a few inappropriate things. Live puppetry performance combines with a few puppet-y short films for what usually works out to be one of the funnier times you can have in a theatre all week (Plaza Theatre, downstairs, @ 9:30pm).

Monday March 27

It’s doing a disservice to mention only one film happening on Monday, but in the interest of brevity in this preview, we simply had to point out that Dad’s Garage is getting in on the screening action this year, putting on a screening of SYLVIO, a typical movie full of the usual cliches: a gorilla living in a human world wants to share his favorite hand puppet with the world. You know, that old story. SYLVIO was another Kickstarter success story, and doesn’t seem like the kind of movie that’s easily missed (Dad’s Garage @ 8:00pm).

Tuesday, March 28

Fans of retro cinema will want to check out THE HERO, featuring legend Sam Elliott as an aging hero of the silver screen whose sudden illness drives him to reconnect with his estranged family. The film also stars Nick Offerman, Laura Prepon, and Krysten Ritter (Plaza Theatre, downstairs, @ 7:00pm).

Then, if you want to end your evening on an up note, swing over to 7 Stages for LEAGUE OF EXOTIQUE DANCERS, which takes viewers to Las Vegas to spend time with the aging ladies who were there for the classic era of burlesque (7 Stages @ 9:30pm).

Wednesday March 29

OK, it’s mid-week. You’ve been at this for a while. You are have part Junior Mint. Persevere! There’s so much more to see, such as THE ZOOKEEPER’S WIFE, the new film from Niki Caro starring Jessica Chastain as a Polish zookeeper in 1939 who must put her own life at risk to save the people at risk from the Nazis after the Germans invade (Plaza Theatre, downstairs, @ 7:00pm).

After the show, skip dinner and get thee over to 7 Stages forCHERRY POP, a narrative film about the performers at a drag club having a wildly unexpected night. If that doesn’t energize you for the festival’s second half, then there may be no hope left for you (7 Stages, @ 9:15pm).

Thursday, March 30

Acclaimed director James Gray has delivered another provocative film with THE LOST CITY OF Z, the true story of the British explorer Percy Fawcett, who entered the Brazilian jungles with his eldest son in 1925 in search of “Z,” a rumored city believed to have a link to the mythical El Dorado (Plaza Theatre, downstairs, @ 7:00pm).

Friday, March 31

You’ve made it to the weekend! As a reward, enjoy a second screening of THE ROCKY HORROR PICTURE SHOW at midnight, but before you do, be sure to attend the screening for WAITING FOR B., a documentary about the lengths Brazilian fans of Beyonce are willing to go for a chance to inch closer to the stage (Plaza Theatre, downstairs, @ 9:30pm).

Saturday, April 1 — Closing Night

It’s April Fool’s Day, and so despite the existence of a slate of films on Sunday, tonight is considered the official Closing Night. You’ve put the time in, you’ve seen an unbelieveable number of great films, and so don’t even think about missing this year’s closing film, Joshua Z. Weinstein’s MENASHE. The film is set in New York’s Hasidic Jewish community, and follows the struggles of the title character as he looks for a way to raise his son as a single parent in the wake of his wife’s death, in spite of religious traditions. The screening will be attended by the film’s Executive Producer, Danelle Eliav (Plaza Theatre, downstairs, @ 7:30pm).

Sunday, April 2

The festival may be over, but you aren’t. No, you’re still craving the sweet sensation of new and exciting films, and Sunday has you covered. For starters, check out NORMAN: THE MODERATE RISE AND TRAGIC FALL OF A NEW YORK FIXER, starring retro cinema icon Richard Gere as a lonely New Yorker looking to get ahead, who suddenly finds himself in the orbit of the new Israeli Prime Minister. The film is presented in partnership with the Atlanta Jewish Film Festival (Location TBD, but likely the Druid Hills Presbyterian Church — see website for updates, @2:45pm).

And, finally, there’s THE PROMISE, featuring current Hollywood it-guy Oscar Isaac as a medical student in 1914 Constantinople who lands in the middle of a torrid romance and the political turmoil of war. Also starring Christian Bale (Plaza Theatre, downstairs, @ 7:00pm).

Conclusion

And that’s just one possible path you could take through the Atlanta Film Festival’s epic schedule. Of course, your preferences may vary, so check out the website to be sure you find the events that are right for you. From short film blocks to special presentations, there’s no shortage. Drop us a line here at ATL Retro and let us know what films you saw, and what you thought! We’ll see you there!
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Andrew Kemp is a screenwriter and game designer who started talking about movies in 1984 and got stuck that way. He can be seen around town wherever there are movies, cheap beer and little else.

Mary Strawberry. Photo credit: Marc Turnley.

The ROXIE  ROZ BURLY-Q SHOW transports audiences back to the bump, grind and bawdy humor of the 1950s and ‘60s this Saturday Feb. 27 at 9 p.m. the Star Bar ($10 presale tickets here; $15 at door). The show is hosted and produced by one of our very first Kool Kats, Shellie Schmals, who is now even more of a dynamite power force in Atlanta’s burlesque scene, and it stands out because acts are accompanied by a live band, none other than Andrew and The Disapyramids, featuring Kool Kat Joshua Longino. The line-up of performers at this not-to-be-missed night out equally rocks, featuring such divine artists as Sadie Hawkins, Candi Lecouer, song bird Jen Thrasher and more.

ATLRetro has had our Kool Kat eye on Mary Strawberry, one of the rising stars taking the stage at Roxie Roz, for some time. Not only is  this classy lady cute as a button, but she has a killer sense of humor and multiple talents well-known to the Atlanta theater community.

We caught up with Mary recently to find out more about what drew her to stage and burlesque, the inside scoop on Roxie Roz, her exotic travels, a dynamic documentary, her advice to beginning performers, and much more!   

You’ve got a long background in theatre. What drew you to the stage as a little girl? Did you have a few favorite plays, performers?

Theater is in my blood. I’ve never known a time where I didn’t want to be on or behind the stage; it just feels right and completes me. My family is pretty quiet, and they all have stories of boisterous little me doing all kinds of stunts and performances all the time. Our chiropractor, who I’ve been seeing for over 20 years, even asks what shows I’m working on and reminisces about seeing me in community theater productions in elementary school. I’d definitely always prefer to see a play over a movie—there’s something exciting about the urgency and stakes of something happening right now and only right now, and the performers being right there looking back at you. My favorite plays include DOG SEES GOD: CONFESSIONS OF A TEENAGE BLOCKHEAD and AVENUE Q. As for performers, I grew up admiring folks like Angela Lansbury, Dick Van Dyke and Jim Henson‘s creations. 

Photo credit: Kevin O’Connell.

How did you first discover burlesque?

I don’t really remember the exact moment I discovered burlesque, but I really got into it in college. It was part personal revolution, part loving the difference and history of performance art instead of mainstream art, and part feeling a sense of belonging in the crossroads of my passions for dance, performance art and bodies. My final project for my degree was actually on the “Difference Between Sexuality and Sensuality and the Use of the Body in Art.” 

You started as a stage kitten for a lot of local burlesque shows. Stage kittens are essential to the success of any show. What did you learn from that experience?

Kittening is a great way to get your foot in the door past being a patron and admirer. It got me a lot of connections and friends in the industry and a close-up look at the inner workings, from how dancers prepare and make their costumes to how the shows function. The kittens, or pick-up artists, or stage helpers—they go by so many names— are a crucial part of the show. I particularly enjoy working backstage at Burlesque Hall of Fame Weekend (BHoF) in Las Vegas every year. I get to meet so many incredible performers and touch all their costumes!

Why the name Mary Strawberry? Is there a story behind it?

My name is definitely personal. It’s a bit familial, a bit cutesy and a lot of recognizable nods. I was named after my great aunt Mary, who served in WWII and was an incredible person. The Strawberry comes from the natural color of my hair, and it’s my favorite fruit and one of my favorite smells. Plus, they rhyme, so it’s easier to remember.

How long have you been performing burlesque and do you have a favorite performance so far?

I think I’ve officially been performing burlesque for just over three years, although I’ve been working behind the scenes as a kitten and stage manager for much longer. I put so much of myself into each of my acts it’s hard to pick a favorite, but half of my enjoyment of a number comes from the audience’s enjoyment and reactions. For instance, my go-go sasquatch number (yep, I dress up like Big Foot and strip!) started out as just a goofy piece for me to express my weird, clownish true self, and it’s morphed into this social justice piece about the natural state of women’s bodies and their right to grow hair. It’s really cool! It definitely makes me feel more connected to the history of the art and parts of the modern neo movement by taking something entertaining and infusing it with politics and satire. I like being able to make people laugh and think at the same time.

Photo credit: JC Barger.

You’ve been traveling to some exciting places lately. Has any of that been for burlesque or is it for your other theatrical work or just for fun?

Some from A, some from B. In 2015, I performed in seven states and Canada. I love traveling and performing in new places because it allows me to expand my work and make more contacts while getting to experience how artists create in other places. There have been places I’ve enjoyed more than others, but I’ve also found some really great art in very unexpected places, like Idaho. They have more than just potatoes, there’s also a really amazing burlesque community in Boise! 

I also went to Prague this summer for a set design and performance art festival I’d been dying to get to for eight years. It was a full week of wandering around a beautiful city and experiencing art from around the world. Two of my favorite pieces were from Thailand, and I got to see an awesome traditional clowning group from the Czech Republic. One night, I even stumbled upon a group of Austrians who had literally built a full bar in a closet! So many unforgettable moments. 

Tell us a little bit about the Roxie Roz Burly-Q show. Shellie has become quite a force in the local burlesque community. What’s it like to work with her?

Shellie is a doll. This will be my third show with the Disapyramids in the last year. I had always wanted to dance with a live band because that’s how the ladies from the golden era did it, so working with them is like a dream come true. They’re so relaxed and enjoy what they do just as much as I do. Shellie is so passionate about producing shows that people are excited to see. She has big dreams for Roxie Roz, and I definitely think she’ll achieve them. There’s so much variety squeezed into these shows that everyone can find something they love and you won’t be bored for one second. 

Anything you can tease us with about your act at Roxie Roz?

This month I’ll be doing another classic and funky juxtaposition. I’ll be revamping my number from the pit bulls benefit last spring, and breaking out my sideshow chops! You won’t want to miss this chance to see “both” sides of me…

What’s next for you burlesque-wise?

I have several shows scheduled right now after Roxie Roz, including the Mayhem Femmes one-year anniversary show—the theme is Dark Carnival and it will be at Taverna Plaka on March 19. The week before, we’re starting up a new show called Bettie Bullet Presents: Sex Ed Burlesque. It’s going to be the best sex ed class you’ve ever taken! That one is at Shakespeare Tavern on March 12. I’m booked to “compete” in the Wheel of Tease show in Seattle this August (it’s similar to Last Pasties Standing for all my ATL fans), so I’m hoping to turn that trip into a tour. I’m also working on a documentary called THE BODIES OF BURLESQUE. The director is a friend from college, and when she found out that I’m a burlesque performer she became fascinated with the body positivity the community embraces and asked me to do this project with her. I’m honored to be a part of it, and I hope it helps people find the will to be proud of themselves just as they are. You can find info on all of my upcoming shows at themarystrawberry.com and facebook.com/marystrawberryatl.

Photo credit: Marc Turnley.

We see body diversity as a defining and empowering aspect of the contemporary burlesque scene. Can you tell us a little more about THE BODIES OF BURLESQUE?

One of the things I love about the current burlesque movement is that it focuses on individuality and diversity. There’s such a huge push for “all bodies are beautiful.” I think that’s a major reason why it’s so popular and attractive, particularly to women. With the huge media presence in our lives telling us that beauty is this or that box, it’s rare and encouraging to find a place where not only can you feel comfortable in your own skin, you’re celebrated for it. I don’t think my body is perfect, but I do think it is beautiful and real and something to be proud of. My body allows me to pursue my dreams of being a dancer, and that’s worth celebrating. I’ve seen and worked with performers of all different shapes, sizes, colors, and abilities, and I cheer each one on just as much as the next or last, because in burlesque it doesn’t matter if you look a specific way, it matters that you have passion and confidence. 

You also do a lot of non-burlesque stage work. What local productions might folks have seen your work featured in?

Most recently, I was the seasonal technical director at Dad’s Garage Theatre Company, where I worked on THANKSKILLING THE MUSICAL and MERRY F***G CHRISTMAS. It’s a great company to work for—a welcoming community of artists that puts on top notch comedy shows. I’ve also done a lot of designing for schools around the city in the last few years. Currently I’m looking for a more permanent position on a theater’s technical staff, but am also trying to work towards a more sustainable career as a performer. I’m planning to add a bunch of new skills and acts to my tool box this year, so there will definitely be more new and exciting things to see from me soon!

Finally, what one piece of advice do you have for young women entering the burlesque world now?

This is really two-part: first, don’t be afraid to chase after what you love and what makes you feel whole. Finding your niche is so validating and empowering, especially if you have to fight and work your butt off for it. Never give up on your dreams!

Second, please recognize the difference between being a professional and a hobbyist. There’s a lot of talk on the Internet about artists having a difficult time getting people to pay for their art because they don’t see it as a career. I love that people are finding their voices and freedom through this rich style of performance art. It’s a great community that’s very supportive, diverse and unique. But realize that if this is just for fun for you and you take jobs for cheap or free, you might be taking a meal or rent away from a professional artist and devaluing the industry as a whole. There are definitely places where hobbyists fit in, and that’s great! Take classes, do showcases, join open mic nights, I encourage artistic expression and will be in the house cheering for you! Just please be conscious of the reality of the other side of the equation so we can all grow and thrive together.

Photo Credit: Raymond Adams

by Melanie Crew
Managing Editor

Rich DeSantis of Whiskey Belt, guitar slingin’, classic country and roots rock lovin’ wayward son and card carryin’ member of the “Redneck Underground” along with his outfit, the Honkytonk Extravaganza deliver a night of high-energy live-band classic country karaoke with a whole ‘lotta shakin’ shenanigans during his Slim Chickens’ Honkytonk Extravaganza event raisin’ a ruckus at The Star Bar this Wednesday, March 4 and every Wednesday night at 9pm!

Rich is no newbie to Atlanta’s ‘roots’ music underground. He’s been “channeling the Grand Ole Opry circa 1957” with his band, Whiskey Belt since 2011, has put together boot stompin’ classic country line-ups in the past as his alter ego, Slim Chickens, revvin’ it up with The Blacktop Rockets, Julea & Her Dear Johns [March 2014; see ATLRetro’s Kool Kat feature on Julea Thomerson, here], Migrant Worker, The Scragglers, Wayne “The Train” Hancock and more; and plans to keep on honkytonkin’ it up with the “Redneck Underground” on a weekly basis at The Star Bar!

The Honkytonk Extravaganza include members from Whiskey Belt as well as a few rockin’ extras: Rich DeSantis (host/vocals/acoustic guitar); Johnny McGowan (lead guitar/vocals); David James (keyboard); Dave Roth (bass/vocals); Mike Hammer (drums) and Steve Stone (pedal steel). So, come on down and raise a ruckus with these fellas at the rockin’est shindig in town, Slim Chickens’ Honkytonk Extravaganza, Wednesday nights at The Star Bar!

ATLRetro caught up with Rich for a quick interview about Atlanta’s “Redneck Underground” and roots music scene; his weekly Slim Chickens’ Honkytonk Extravaganza event and his admiration for Buck Owens of The Buckaroos.

And while you’re takin’ a gander at our little Q&A with Rich, gear up for a rockin’ night with the fellas by takin’ a peek at the Slim Chickens’s Honkytonk Extravaganza songlist here and take a listen to his Spotify playlist here!

ATLRetro: We see that you’ve been stompin’ it up since 2010 and dishin’ out a whole lotta live classic country karaoke, which has been a hit at the Star Bar. Can you give us the scoop on Slim Chickens’ Honkytonk Extravaganza’s origins?

Photo Credit: Raymond Adams, (L-R) Johnny McGowan, Steve Stone and Rich DeSantis

Rich DeSantis: I’ve been hosting an event for years to feature roots rock music and culture called the Honkytonk Extravaganza. I would hire a couple bands and also invite some extra talent to play and encourage on-stage collaboration; it was fun and a great meeting place for people who love this music. Then, last May, Kahle Davis put a note out on FB asking if anyone had an idea for an event for every Wednesday at The Star Bar. I suggested doing live band classic country karaoke with a house band. My first call was to Johnny McGowan to play lead guitar, then David James on keys, Dave Roth on bass and Mike Hammer on drums. The first night was a success and we moved forward watching the event grow every week. In August, I added Steve Stone on pedal steel and lead guitar and that’s the band.

Atlanta has proven to have a soft spot for old-time country, rockabilly and has thrived on the sleazy nitty gritty underground music scene. What drew you to the scene and what do you think could make it even better?

The music is what drew me to that scene – with a taste for Buddy Holly, Buck Owens and Elvis, I went looking for like-minded individuals and found them at The Star Bar. That was always where the cool kids were. I was watching bands and playing in bands and learning what it meant to be in a band and The Star Bar is ground zero for the “Redneck Underground”. What we need to make it better is what you are doing – a little promotion is all we need to draw more music lovers out to our little event.

Have you always been into classic country? When did you pick up your first guitar?

I’ve always loved Buck Owens but I found classic country through the rock and roll and jump blues I was playing with my old band, Slim Chickens. I began adding a high-energy George Jones or Waylon Jennings tune to our set here or there and having fun and getting a good crowd response so I began looking for other great songs. I love the high quality of musicianship in classic country. I started playing guitar at 13.
Who are your favorite classic country and vintage performers and influences?

Hank Williams, Lefty Frizzell, Faron Young, Webb Pierce, Gram Parsons are folks I haven’t already mentioned. I love the space in this music as these fine players weave together their little vignettes. And I love what feels like down-home comfort mixed with the worldliness of narrators who learned their lessons the hard way.

In 2010, we see that you revved it up with The Blacktop Rockets and later with other wranglers and foot stompers (Kool Kat Julea & Her Dear Johns, Wayne “The Train” Hancock, Migrant Worker and The Scragglers). If you could line-up a show of your favorite musicians (still around or not) for a helluva hootenanny, who would you choose and why?

“Hot Rod Walt” & the Psycho-Devilles are a huge part of the Atlanta roots-music scene. I would have Cicada Rhythm, Willie Heath Neal, and Ghost Riders Car Club and open up for them, that would be a fun show. I guess Elvis opening up for Hank Williams would be pretty cool too.

Photo Credit: Raymond Adams; (L-R) Johnny McGowan and Rich DeSantis

You’ve stated that with the help of Steve Stone (Pedal Steel and producer/engineer) Honkytonk has been recording in his studio. Any plans for an album any time soon?

Well, we are recording – we have two songs finished and are about to record a new original or two for a compilation record. Steve is incredibly talented and busy being the hottest new picker in town, so I anticipate an EP ready in the spring.

What would you say is the most requested song at the Honkytonk Extravaganza? How do you choose your song lists?

I think “Jackson” by Johnny Cash and June Carter gets a lot of play and probably “Folsom Prison Blues” too. Johnny Cash is very popular; he is a dark character and creates a bridge between rock and roll/punk rock and classic country, so nearly every music lover likes the “Man in Black”. I started with the song list from my band Whisky Belt and continue to add new songs based on my research and suggestions from the audience and band members.

What can our readers expect at your Wednesday night Slim Chickens’ Honkytonk Extravaganza events at The Star Bar?

Expect to watch a great country band rip through a few numbers and then invite other entertainers from the audience to sit in with us for lively versions of dusted off country and rockabilly classics. It’s a fun-filled variety show with a parade of singers and instrumentalists showing out. The audience will be dressed in style and laughing, drinking and making the scene. Expect a spotlight shining on the “Redneck Underground” circa 2015.

Photo Credit: Raymond Adams, (L-R) David James (keys), Johnny McGowan (guitar), Mike Hammer (drums), Art Holliday (vocals), Rich DeSantis and Dave Roth (bass)

Any special events coming up? Special guests in the near future?

We’ve been asked by the folks at Dad’s Garage to play at the Masquerade for BaconFest 2015 on March 28. We will be bringing the Honkytonk Extravaganza out there to do 3 hours of live band karaoke in Purgatory from 2-5pm.

What’s next for you and Slim Chickens’ Honkytonk Extravaganza?

I’m just excited to move into the spring with the momentum we’ve gained through the winter and take the whole event to the next level in every way. I have a few new things in the works and people can follow along by joining the Facebook Group, Slim Chickens’ Honkytonk Extravaganza.

Can you tell our readers something you’d like folks to know that they don’t know already?

You don’t have to sing or play to participate – most people just come to watch and have their own kind of fun.

What question do you wish somebody would ask you and what’s the answer?

Q: “Where can we get shirts like you guys wear?”
A: I bring 10 or 20 western shirts to the events to sell.

Photo Credit: Kim Koch, Front (L-R) Dave Roth, Mike Hammer, Anita Lee, Steve Stone, Johnny McGowan. Back: Rich DeSantis

All photos are courtesy of Rich DeSantis and used with permission.

Chris Brown and Shane Morton at The Lab. Photo courtesy of Adult Swim.

When Shane Morton, aka Atlanta’s Renaissance man of horror, and Chris Brown, mad mastermind of Macabre Puppets and the bloody musical SCARLET’S WEB (Dad’s Garage), first got involved with Adult Swim‘s  YOUR PRETTY FACE IS GOING TO HELL, they immediately realized this grotesque and groovy gig was their dream, or should we say nightmare, job. The initial assignment was special effects makeup, but the show didn’t have an art director yet. It’s a story Shane has already told colorfully in several articles, but he asked them for a couple of days to film a make-up test to prove the pair could transform humans into demons in 45 minutes, then he got to work on sketches and models. Being old-school Ray Harryhausen fans, Shane and Chris wanted to do as much as possible with miniatures, but budgets and technological advances dictated a balance between digital effects for lava flows and heads spinning like Linda Blair and the old ways for blood spurts and HR Geiger-esque urinals. Still, the pair didn’t have to do much to convince everyone to let them take over much of what perhaps a little ironically is called the “practical” effects for the series.

“Maybe we were thinking too much about that,” Shane says, speaking about his passion for traditional effects from the monster FX Lab he’s built south of the city at the Atlanta Zombie Apocalypse. The undead Halloween attraction is one of many horror events he has nurtured locally and is a big force behind the transformation of Atlanta into Halloween-town, USA. “We did sculpt and cast all the horns themselves,” he continues. “We didn’t want to be just painting people red and sticking horns on them, and we didn’t want anything store-bought.”

Ever since the Middle Ages, comedies about deals with the Devil have proven a surefire hit. Think about such Retro cult classic movies as BEDAZZLED (The 1967 version, of course, starring Peter Cook and Dudley Moore) and POOR DEVIL (TV, 1971), starring Sammy Davis Jr.  and Christopher Lee). YOUR PRETTY FACE IS GOING TO HELL mixes in-your-face crassness and generous gore with office comedy, reimagining Hades as a contemporary cubicle-ridden setting. Demon Gary (played by Henry Zebrowski) is dedicated but far too much of a screw-up to earn a promotion. Yet it’s hard not to empathize with the well-meaning “associate” because we all like to complain about our bosses, but his, well, has to be worst because it’s Satan. The original live-action series is created and directed by Dave Willis (AQUA TEEN HUNGER FORCE, SQUIDBILLIES) and Casper Kelly (SQUIDBILLIES, HARVEY BIRDMAN: ATTORNEY AT LAW; STROKER & HOOP). The final installment of the six-episode run airs this Thursday May 23, 2013, at midnight.

Henry Zebrowski stars as Gary the demon in YOUR PRETTY FACE IS GOING TO HELL. Photo courtesy of Adult Swim.

At the Silver Scream Spookshow, Shane’s homage to Retro spook shows of old, he regularly performs magic tricks as Horror Host with the Most Professor Morte. Whether transforming humans into monsters with make-up, conjuring up crazy sets or engineering a splattery gross-out nosebleed, Shane views his effects work equally as magic. A consummate showman, he “performs” for the crew and ultimately the TV audience. “When there is special effects stuff going on, everybody wants to be around to watch it,” Shane says. “You’re getting to see the trick in the magic trick. You’re getting to peek behind the curtain.”

Part of the magic on YOUR PRETTY FACE was having to be prepared for the unexpected every day on the set. The script served only as a loose guide because a great deal of improvisation happened, too, Shane says. With that in mind, he kept a “library of prosthetics” on set. At the AZA Lab prior to shooting, he crafted multiple “wounds and hanging eyeballs and sets of teeth, because you never know what these people are going to ask for.”

Shane and Chris started each day by getting the cast into make-up. As simple as it may seem to paint someone red and stick on horns, Shane notes that because the body is organic–yeah, people sweat and rub against things–there’s a nonstop need for  reapplication. “We were constantly touching up their noses, painting in their ears, touching their beards up, molesting them all day long,” Shane says. “You have to get intimate.”

That process became trickier when on location, such as for the third episode, “Take Life By the Horns,” in which Gary found himself fallen into a ravine. That shoot involved dodging poison ivy and copperhead snakes and having to rappel camera equipment down the side of a mountain, Chris recalls.

After make-up, the pair would launch into preparing the special effects and any additional props needed for the day. Sometimes that could be blood or pus or a potion of extreme projectile vomit, also needed for the ravine shoot. “We had a limited amount of time, so I literally used a sump pump, like you use to bail water out of your basement,” Chris says. “I put together a big plunger and a giant syringe, and then opened the nozzle to spew out a rainbow collection, which included stew, cream of mushroom soup, I made some gelatin and crunched up into chunks. The smell quickly turned rancid so it even smelled like vomit.” In addition, Gary broke his leg from the fall down the cliff, and Chris had to create nauseating pus to spew from the wound. Yes, it did involve black blood, red blood and tapioca pudding!

Satan (Matt Servitto) gets a touch-up from Shane Morton. Photo courtesy of Adult Swim.

Shane and Chris are used to working wonders on a tight budget and schedule whether it’s for local theater or DEAR GOD! NO!, an over-the-top neo-exploitation movie involving bikers, Bigfoot and a Nazi mad scientist which scored awards at grindhouse festivals across the nation. While the budget was not huge for YOUR PRETTY FACE, it was much larger than the typical indie which allowed such treats as Chris was crafting Satan’s legs out of actual yak fur rather than a used gorilla suit. “The original talk was that Satan would be fat, over-the-hill, and extra lecherous like the demon in LEGEND (1985) as if time has caught up with him,” Shane says. “We were really gung ho for that, but we loved the look he ended up with.”

A secret ingredient underneath Satan’s furry legs was spandex tights, that could easily be changed out if Matt Servitto, the actor who plays Satan, felt sweaty. A lycra lining gave four-way stretch which, as Shane notes, even allowed Matt to do David Lee Roth kicks in a photo shoot. As for costume maintenance, well, “it was like combing out a big dog,” Chris says.

Perhaps Shane’s favorite set pieces are the aforementioned H.R. Geiger-esque urinals, the bowls of which needed to accommodate the heads of demons who displeased Satan. Yeah, he pees on them, including sometimes poor hapless Gary. Originally they were supposed to be clean, standard urinals, but then Shane had the crazy idea to make them scary: “Everything in hell is monsters, so let’s make the urinals monsters, too!”

Shane Morton at work on Claude (Craig Rowin), Gary's over-dedicated intern in YOUR PRETTY FACE IS GOING TO HELL. Photo courtesy of Adult Swim.

Shane went home and crafted a miniature model, brought it in, and got the greenlight to create a urinal that looks like an extra-large facehugger. He toyed with various color ideas but finally decided that the bathrooms otherwise would be spotless in Hell.

The demonic duo were impressed that the show really did follow through with Satan actually peeing on the demons’ heads. Of course, even with a program that prides itself on shock value, some things inevitably didn’t make the final cut. For example, Satan won’t poop on Gary’s face, even though the scene was filmed. “It will end up on DVD maybe,” Shane says hopefully. “Somebody getting pooped on or an arm hacked off is a good day at work! It keeps the energy up.”

Satan’s office is packed with props created by Shane and Chris, though it is not perhaps quite the devilish “greatest hits” collection that they originally envisioned. Instead of the trophies and plaques that have become de rigeur in executive offices, Shane wanted to include on the shelf Eve’s apple, Christ’s crown of thorns and Hitler’s head in a jar. And clearance couldn’t be gotten for Wall of Shame photos of Satan flashing a big grin with dubious celebrities such as David Hasselhoff and the Octomom. Still, those who look carefully will see many subtle Shane and Chris touches such as faces of tortured souls on the steel balls that click back and forth on the Devil’s desk. “Everything is pumped up a little bit because after all we are in hell,” Shane says. “Even the elevator switch looks like something scary.”

In other words, Shane and Chris had one of a helluva good time. At an apartment location, some little old ladies told the crew “they were going to pray for us because we were doing the devil’s work,” Shane says. “We joked every day and maybe it did get a bit old but ‘it’s really hell getting all this done today!’”

Shane holds up his own head, a prop he crafted for DEAR GOD! NO! Photo courtesy of Adult Swim.

As the season draws to a close, the pair are now just waiting to hear the final ratings and whether the show gets greenlit for a second season. If yes, they’re hoping for a bigger budget and the chance to play around more with more practical special effects over CGI–“to raise the bar,” as Chris says. “If we end up getting multiple seasons, it’s only going to get more extreme,” he adds. And maybe there’ll even be a cameo for that giant spider with the humungous nut-sack hanging on his back that turned out to be expensive to cast.

In the meantime, Chris will be working on the script for a $3-4 million movie version of SCARLET’S WEB. And Shane recently wrapped the indie feature, TALES FROM MORNINGVIEW CEMETERY. In it, he appears as Professior Morte, fulfilling the Cryptkeeper role, introducing the segments and holding the show together. He’s also involved in preproduction with director Jimmy Bickert for FRANKENSTEIN CREATED BIKERS, the much-anticipated sequel to DEAR GOD! NO! It will be filmed in 35mm widescreen hopefully by the end of 2013, he revealed, and include a lot more special effects and monsters. Look for Shane, or rather his Professor Morte alter-ego, at the 11th Annual Rock n Roll Monster Bash at the Starlight Six Drive-In on Sunday June 2. The movies this year are THE DEVIL’S RAIN (1975) and EVIL DEAD 2 (1987), not to mention six bands, scary shopping and Monstrosity Championship Wrestling! [ED. Note: Watch for Retro Reviews of both movies next week]

Editor’s Note: Shane and Chris are just a few of the talented local folk streaming by in the end credits of YOUR PRETTY FACE. More ATLRetro friends include producer Linda Burns (V/H/S, THE SIGNAL), set decorator/property master Laurie Garner, who’s played bass in so many Atlanta bands (She-Monster and Vietnam to name a few), and the indomitable Eddie Ray (SATANIC PANIC BAND OUT OF HELL and a previous Kool Kat to boot!).

ALSO: Learn some of the make-up secrets Shane Morton used in YOUR PRETTY FACE IS GOING TO HELL at his Monster Make-up Class on Sunday May 26 in his Lab at AZA. For more details, visit the Facebook Event Page here.

Carrie Anne Hunt as the Snow White Princess in Lisa Stock's play of Neil Gaiman's SNOW, GLASS, APPLES, which opens Aug. 24.

SNOW WHITE has a reputation for being a cheery story about a cute princess and seven mostly affable dwarves, but the only time I ever hid my eyes in a movie as a child was when the evil stepmother queen transforms herself into a hideous wicked witch in the Walt Disney version. Trust author Neil Gaiman (SANDMAN, AMERICAN GODS) to cleverly latch onto the darker side of that familiar tale and consider that mere jealousy might not be sufficient motive to drive the queen to murder by poisoned apple. And maybe the prince wasn’t exactly your normal kind of hero either. “I was reading Neil Philip‘s [PENGUIN BOOK OF] ENGLISH FOLKTALES, and a rereading of a version of SNOW WHITE made me stop and wonder what kind of person she was, and what kind of person sees a dead girl in a glass coffin and wants to keep her…,” Neil said in an email last week when asked what led him to write the short story, SNOW, GLASS, APPLES. Now Snow White’s white skin, blood-red lips and coffin-sleeping take on a new meaning with disturbing erotic implications, and the queen becomes a protagonist with a difficult moral choice.

Lisa Stock. Photo credit: Jaclyn Cook.

Originally published as a benefit book for the Comic Book Legal Defense Fund in 1994, SNOW, GLASS, APPLES captured the imagination of so many readers that it was reprinted in two anthologies—TWICE BITTEN: LOVE IN VEIN II (1997), edited by Poppy Z. Brite, and Neil’s own collection SMOKE AND MIRRORS (1998). One of those readers was Lisa Stock, who like the storytellers of old, had her own thoughts about taking the tale in a new direction from page to stage. Through a few mutual friends, the then-New York-based writer/director for theater and film politely asked Neil nicely for a chance to have some fun with his story of bloodlust and mistrust. Charmed by her vision, the idea of seeing his creation come to life and the fact that all proceeds would benefit charity (East Atlanta Community Association), he granted her wish. “I love live theatre,” Neil said. “There’s a magic you cannot get from anything else when it’s good.”

While this real-life fairy tale so far may seem more CINDERELLA, it’s Atlanta audiences that really are the lucky ones. SNOW, GLASS, APPLES has its world premiere here Wed. Aug. 24 through Sun. Aug. 28 in the unusual venue of the East Atlanta Village Farmers Market, re-envisioned by Lisa as a dreamlike Spring Fair. Artists and photographers also will have a chance to draw and photograph cast members in costume and preview the phantasmagoric sets during a Dr. Sketchy’s Anti-Art School Atlanta field trip on Mon. Aug. 22. Performances are rated “R” for simulated violence and adult themes, but a special family-friendly show will be held Aug. 28 at 6 p.m.

ATLRetro recently caught up with Lisa to find out more about what drew her to the dark story, crafting a truly unique audience experience, why it’s the perfect fit for a Dr. Sketchy and a little about her other mythic projects, including the upcoming independent feature film TITANIA.

For those unfamiliar with Neil Gaiman’s SNOW, GLASS, APPLES, without giving away too much, how is it different from the Disney version of SNOW WHITE we grew up with? And more like the original darker versions that date back to Medieval times?
For me, Neil Gaiman’s version reflects the earliest forms of the tale, some [of which] trace back to the myth of Persephone (eating pomegranate seeds and falling into a half-life in the Underworld). The tales were originally much darker in nature and true morality tales. SNOW, GLASS, APPLES for me is just that—a cautionary tale about trusting or mistrusting your instincts. It’s also about self-preservation in a brutal world, and how you deal with the choices that have been handed to you. Our protagonist doesn’t get saved and have all that’s hers by birthright returned to her. She makes her own decisions—for better or worse—and goes out to protect, on her own, what she holds dear.

How did you discover SNOW, GLASS, APPLES and what drew you personally to the story?
I discovered SNOW, GLASS, APPLES through a haunting illustration by Sarah Coleman of the princess that led me back to Neil’s story. I love new perspectives on old tales and those that speak to human instincts. Instincts are such a basic, fundamental part of being human, and yet we often ignore them. The Queen does that in this tale; I’ve done that more times than I can count. I’ve made mistakes, I’ve been defeated. We all have. And I think this short story brings out a side of us we may not want to own up to—it talks about fear and failure, but also responsibility and integrity. Though Neil has made the Queen the protagonist, she hasn’t lost any of her edge or her darkness. Instead, with the perspective in her corner, we recognize that in ourselves.

I also love all the visual reminders of her fear in the story: the vampiric princess who keeps coming back to life, the princess’ heart strung above her bed, the forest folk disappearing, nothing is as it seems, reminders to look deeper. Think about it. What are you afraid of? It takes up a lot of your time and space. That’s our nature. And in Neil’s story, the Queen goes out to do something about her fear; whether she’s successful or not, she tries to survive it. Was it the right thing to do or not—that’s for each of us to decide.

Read the rest of this entry »

Friday, June 24

Blair Crimmins

Things could get dangerous as radical ragtimers Blair Crimmins & the Hookers revive the Roarin’ Twenties after A Fight to the Death and Lille at The Earl. Read ATLRetro’s interview with Blair here. If you missed AM Gold‘s brilliant heartfelt rendition of the entire Steve Miller Band’s Greatest Hits ’74-’78 album at Bubbapalooza, we guess you could settle for the real Steve Miller Band at Delta Classic Chastain. Experience a funkier kind of jazz with Cadillac Jones at Star Bar. Catch an IMAX movie and swing dance the night away to Kingsized at Fernbank Museum of Natural History’s Martinis and IMAX.

The bewitching Dario Argento classic SUSPIRIA, starring Jessica Harper (PHANTOM OF THE PARADISE) and Joan Bennett (DARK SHADOWS), is this month’s feature for Shriek Theatre Movie Night at DooGallery. And Film Love:Robbie Land includes 16 mm shorts and a chance to meet the acclaimed filmmaker. Works include MICANOPY WINTER WONDERLAND, which documents an antique jukebox converted into a diorama wonderland scene, and FLORIDALAND, about defunct Florida theme parks from 1960s, ’70s and ’80s. Film Love founder/director Andy Ditzler was a recent Kool Kat.

Saturday June 25

Greg Theakston, comics writer/artist and the man who rediscovered Bettie Page, signs JACK MAGIC, THE LIFE AND ART OF JACK KIRBY, his definitive biography of the King of Comics who co-created many of Marvel’s most iconic characters from Captain America to the Fantastic Four, from 3 to 6 PM at Criminal Records.

Forget 3D! Ever seen a movie in hypnoprismoscope? Ghost Host with the Most Prof. Morte will unveil the mysterious new process this weekend as The Silver Scream Spookshow screens schlocky 1953 sci-fi/horror – well we’re not sure it’s a classic – movie ROBOT MONSTER at the Plaza Theatre. Come early for the hilarious pre-film stage show featuring gorgeous dancing ghouls and other fiendish friends. Kids matinee at 1 PM and adult show at 10 PM. Look for ATLRetro’s review soon.

It’s also the last day to see the ever irreverent Dad’s Garage Theatre take a stab at the ’80s horror genre of camp slasher films in SLAUGHTER CAMP about a homicidal maniac terrorizing a theatre camp. DJ Romeo Cologne transforms the sensationally seedy Clermont Lounge into a ’70s disco/funk inferno.

Sunday June 26

It’s a day for new exhibitions. At the High, be among the first to experience RADCLIFFE BAILEY: MEMORY AS MEDICINE and JOHN MARIN’S WATERCOLORS: A MEDIUM FOR MODERNISM. Read more about the former in this week’s Kool Kat. Marin was named America’s number one artist in a 1948 LOOK magazine survey. While his name is not a household one today, this exhibition reminds us of his important place in the modernist movement and why watercolors became such a powerful instrument for avante-garde art in the hands of him and other artists in the Stieglitz Circle, including Georgia O’Keefe.

The Museum of Design Atlanta (MODA) opens its newest exhibit WaterDream: The Evolution of Bathroom Design, which runs through Sept. 24 in the dynamic new Midtown space. Displays take visitors through a four-part journey into the bathroom including the birth of minimalist aesthetics in 20th century design and progress into current concepts.

The Barrow Boys headline blues “dunch” between 1 and 4 PM at The Earl. And at night catch ’80s-founded alt-rockers Dinosaur Jr. at Variety Playhouse.

Ongoing

MODERN BY DESIGN, the High‘s newest special exhibition celebrates three key moments in modern design and also the Museum of Modern Art, New York‘s (MOMA) collection history. The works on loan from MOMA cover “Machine Art” (1934), “Good Design” (1950-55) and “Italy: The New Domestic Landscape” (1972), with the latter addressing modernism in the context of 1960s and ’70s counterculture.

Margaret Mitchell Typing - Courtesy Margaret Mitchell House

Get a rare chance to view original manuscript pages from the last four chapters of ATLANTA’S BOOK: THE LOST GONE WITH THE WIND MANUSCRIPTat the Atlanta History Center. The new exhibit, which opens today and runs through Sept. 5, is part of a series of activities celebrating the 75th anniversary of the publication of the international bestseller and also includes foreign and first edition copies, the desk Margaret Mitchell used while writing it and select images.

Tune back in on Friday for Weekend Update. If you know of a cool happening that we’ve missed, send suggestions to ATLRetro@gmail.com.

Friday, June 17

Libby Whittemore

It’s an all-around jazzy evening at three Atlanta theaters, attractions and museums. Beloved Atlanta chanteuse Libby Whittemore returns to Actor’s Express for the second show in a four-day run (June 16-19) of LISA & LIBBY’S SUMMER CAMP, joining singer Lisa Paige and musical director/accompanist Robert Strickland for a summer-themed new installment to the Libby’s at the Express series. The show combines standards, Broadway tunes, and more, and in the second act, the 31st Ladyof Country Music Connie Sue Day. Shows start at 7:30 PM. Vocalist Marsha DuPree sings sweet, soulful cabaret and musical revue favorites at Callanwolde Jazz on the Lawn. Or head to the halls of the High Museum of Art for a night of art and Friday Jazz with Kevin Bales. Joe Gransden brings his big band style of jazz to Jazz Journeys at Georgia Aquarium. If swingin’ blues is more your mood tonight, Jump’n Jukes are at Fat Matt’s Rib Shack. Or catch an IMAX movie and merengue the night away during Salsa Night with Salsambo Dance Studio at Fernbank Museum of Natural History’s Martinis and IMAX.

Saturday June 18

What could be more retro than the first annual Rockabilly Luau at the Masquerade Music Park from noon to 8 PM, featuring a mix of rockabilly, psychobilly, surf and psycho-surf music by Hot Rod Walt and the Psycho DeVilles, Daikaiju, The Pelvis Breastlies, The Mystery Men?, The Rebel Surfers,The Go Devils, The Atomic Rockets and C.N.I. COW. More performers include Blast-off Burlesque, Davina and the Harlots, The Spinderellas and authentic Polynesian dancers and fire dancers. The total tiki day also promises Hawaiian BBQ and beer, a pre-1968 car show, Hawaiian pin-up girl and swimsuit contest, live tiki carving, lei greeters, a worst Hawaiian shirt contest, vendors and classic tropical drinks. All ticket sales support two local animal rescues. Catch ATLRetro‘s sneak preview with founders and this week’s Kool Kats Chris Mattox and Jessica Vega here and an exclusive interview with The Rebel Surfers here.

Papa Said Knock You Out and that’s exactly what Atlanta Rollergirls plan to do today in their monthly double-header at the Yaraab Shrine Center. First bout between the Sake Tuyas and Toxic Shocks is sold out, we hear, but tickets were still available at press time for the second match at 7:30 PM between Atlanta Rumble B‘s and visiting team Fort Myers Derby Girls. Then take the Highway to Hellbilly as world-famous mountain Dancing Outlaw Jesco White and country singer-songwriter Roger Alan Wade burn up Atlanta at 529 Club in East Atlanta. DJ Romeo Cologne transforms the sensationally seedy Clermont Lounge into a ’70s disco/funk inferno. And of course, ’80s metalheads/rockers will want to head to Lakewood Amphitheatre for Heart and Def Leppard.

Sunday June 19

Blake Rainey & His Demons headlines blues “dunch” between 1 and 4 PM at The Earl. Hall & Oates play Chastain Park Amphitheatre.

Closing this weekend

Ray Harryhausen's interpretation of the Cyclops in THE 7TH VOYAGE OF SINBAD (1958)

Sun. June 19 is the last day to see the original images which inspired Ray Harryhausen‘s amazing stop-motion cyclops, centaurs and other mythological beasts in the special exhibition, MONSTERS, DEMONS AND WINGED BEASTS: COMPOSITE CREATURES IN THE ANCIENT WORLD at the Michael C. Carlos Museum at Emory University through June 19. The exhibition of monstrous art, drawn from the museum’s permanent collections, shows how the ancient Greeks were inspired by other Middle Eastern cultures in developing a vast repertoire of richly imagined creatures.

Kandace Christian as Margaret Mitchell. Photo courtesy of Melita Easters.

Find out about the headstrong, irrepressible early years and the human side of MRS. JOHN MARSH..THE WORLD KNEW HER AS MARGARET MITCHELL at the Ansley Park Playhouse. The well-reviewed hit one-woman show by Melita Easters and starring Kandace Christian has gotten some great reviews and even includes a rare perspective on her year at Smith College in Northampton, Massachusetts – the only time she ever left the Southeast. Friday and Saturday at 8 PM and Sunday at 2 PM.

Ongoing

MODERN BY DESIGN, the High‘s newest special exhibition opening on Sat. June 4, celebrates three key moments in modern design and also the Museum of Modern Art, New York‘s (MOMA) collection history. The works on loan from MOMA cover “Machine Art” (1934), “Good Design” (1950-55) and “Italy: The New Domestic Landscape” (1972), with the latter addressing modernism in the context of 1960s and ’70s counterculture.

The ever irreverent Dad’s Garage Theatre takes a stab at the ’80s horror genre of camp slasher films in SLAUGHTER CAMP about a homicidal maniac terrorizing a theatre camp. June 2-25 on the main stage.

Get a rare chance to view original manuscript pages from the last four chapters of ATLANTA’S BOOK: THE LOST GONE WITH THE WIND MANUSCRIPTat the Atlanta History Center. The new exhibit, which opens today and runs through Sept. 5, is part of a series of activities celebrating the 75th anniversary of the publication of the international bestseller and also includes foreign and first edition copies, the desk Margaret Mitchell used while writing it and select images.

Tune back in on Monday for This Week in Retro Atlanta. If you know of a cool vintage-inspired happening, send suggestions to ATLRetro@gmail.com.

Monday June 13

From 3 PM on, savor tropical sounds and libations, as well as a Polynesian dinner during Mai Tai Monday at Smith’s Olde Bar. Kingsized and Tongo Hiti lead singer Big Mike Geier is Monday night’s celebrity bartender at Sister Louisa’s Church of the Living Room and Ping Pong Parlor. Northside Tavern hosts its weekly Blues Jam.

Tuesday June 14

Watch Dennis Hopper battle crazed redneck cannibals as Splatter Cinema presents THE TEXAS CHAINSAW MASSACRE 2 at the Plaza Theatre tonight at 9:30 PM. Read Geoff Slade‘s bloody review here.  Hear UK ’70s hard rock band Uriah Heap at Variety Playhouse. Attend the Atlanta launch of THE SWEETEST THING, a novel about two remarkable women during the Great Depression, by award-winning writer Elizabeth Musser, author of The Swan House, at the Atlanta History Center. Grab your horn and head to Twain’s in Decatur for a Joe Gransden jazz jam session starting at 9 PM. Notorious DJ Romeo Cologne spins the best ‘70s funk and disco at 10 High in Virginia-Highland. Catch Tuesday Retro in the Metro nights at Midtown’s Deadwood Saloon, featuring live video mixes of ’80s, ’90s, and 2Ks hits.

Wednesday  June 15

It’s only halfway through the work week, but Syrens of the South Productions are ready to make it go a little faster with Hump Day Honeys, a weeknight burlesque show at The Shelter featuring both local favorites, such as Katherine Lashe and Kittie Katrina, as well as hot out-of-town guests such as Burlesque Nouveau from Greensboro, NC. Shows start promptly at 10 PM, end at midnight, and include a raffle to benefit the Southern Fried Burlesque Fest. Get ready to rumba, cha-cha and jitterbug at the weekly Swing Night at Graveyard Tavern. The Hollidays bring a little soul to Fat Matt’s Rib Shack and Danny “Mudcat” Dudeck blues it down at Northside Tavern respectively. Dance to ‘70s, ‘80s and ‘90s hits during Retro in the Metro Wednesdays presented by Godiva Vodka, at Pub 71 in Brookhaven.

Thursday  June 16

Slim Chance & the Convicts

Slim, Dangerous Dan and Tony Drummer reunite for the first time in five years and replay their very first set from June 4, 1986 to celebrate The 25th Anniversary of Slim Chance & the Convicts at Kathmandu Kitchen & Grill (formerly Pho Truc) in Clarkston. Opening for the Redneck Underground icons is Spooky Partridge. No cover charge, no smoking and all ages!

Beloved Atlanta chanteuse Libby Whittemore returns to Actor’s Express for a four-day run (June 16-19) of LISA & LIBBY’S SUMMER CAMP, joining singer Lisa Paige and musical director/accompanist Robert Strickland for a summer-themed new installment to the Libby’s at the Express series. The show combines standards, Broadway tunes, and more, and in the second act, the 31st Lady of Country Music Connie Sue Day. Shows start at 7:30 PM. Relive the pangs and pleasures of ’80s high school romance via John Hughes’ 1984 hit SIXTEEN CANDLES at Piedmont Park‘s Screen on the Green. Listen to Tongo Hiti’s luxurious live lounge sounds, as well as some trippy takes on iconic pop songs, just about every Thursday night at Trader Vic’s. Party ‘70s style with DJ Romeo Cologne at Aurum Lounge. Breeze Kings and Chickenshack bring on the blues respectively at Northside Tavern and Fat Matt’s Rib Shack.Bluegrass Thursday at Red Light Cafe features He Sang She Sang and Hopfrog.

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