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The Filigree Theatre presented Anna Ziegler’s play “A Delicate Ship” at The Santa Cruz Theater in ATX

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“A Delicate Ship” at The Santa Cruz Theater performed by The Filigree Theatre. Photography: Nicolette Mallow.

The Filigree Theatre premiered Anna Ziegler’s poetic play A Delicate Ship in Austin, Texas on Feb. 15, 2018. A theatrical performance that marked the second production of The Filigree’s inaugural season, their first play was Betrayal by Harold Pinter. A Delicate Ship and Betrayal were both hosted by The Santa Cruz Theater. Champagne and cookies were served after each performance. The cast of A Delicate Ship consisted of David Moxham (Sam), Laura Ray (Sarah) and Nicholaus Weindel (Nate). Directed by Elizabeth V. Newman (Artistic Director) and Produced by Stephanie Moore (Co-Managing Director) the play premiered until closing night on Feb. 25, 2018. 

What is the synopsis of A Delicate Ship and what does this story entail? “It’s Christmas Eve, and Sarah and Sam are celebrating like New Yorkers: flirting over wine and debating the nature of existential suffering. Then there is knock on the door, and Sarah’s childhood friend Nate stands at the threshold. And suddenly suffering becomes a whole lot less sexy. A kaleidoscopic look at one night in New York City that changes the lives of three people forever.” 

Weeks ago that was the exact synopsis I read on the Press Release sent to me by a publicist I’ve worked with many times, and immediately I was intrigued and knew I wanted to attend. Theatrical performances are like taking a mental and emotional journey in time whilst sitting still in the audience. It’s like pulling back the curtain to someone else’s life and being an invisible guest. As beautiful as film and cinema may be and as much as I adore all the arts: theatre arts and theatrical performances hold a beloved place in my heart, like music, because it feels as if I am experiencing a daydream that I can immerse myself into, like diving into an Olympic pool and imagining I am a mermaid out at sea. Like a daydream, theater arts lets me float away in imagination. I can watch the play and forget about my life and my characters for a few hours at a time. Generally I read a play in its entirety before attending a performance to know the exact story, dialogue and characters. But this time I read nothing but the Press Release and did not delve into the minute details. I wanted to walk into A Delicate Ship with an open mind.

Immediately upon entry into the theatre I saw blue windows, blue lights, a brown leather sofa, a guitar, a birdcage, The New York Times newspaper, other trinkets and home decor like books and a modest at-home bar. The stage was set in someone’s NYC apartment and it looked like a cold December night by the wool and flannel jackets hung by the door. The venue space at The Santa Cruz Theatre is very intimate in size and it makes for an evocative, memorable and vivid experience with the audience and the actors on stage so close in proximity the eye contact can feel magnetic. 

Photography by Nicolette Mallow

A Delicate Ship was my second experience to see a performance by The Filigree Theatre. The first play was so delightful that I came back for more. This time I attended on the opening night as a member of the Press and I had the pleasure to interview Elizabeth V. Newman: Co-Founder, Artistic Director & Co-Managing Director of The Filigree Theatre and A Delicate Ship. 

Nicolette Mallow: The set on stage was beautiful! I loved the integration of music, spotlights, blue lights and windows… Does the theatre intend to keep expanding light and sound into plays? I feel like Betrayal was a lot more subtle in regards to sound and lighting effects. I adored the colors and sound effects in A Delicate Ship. 

Elizabeth V. Newman: Thank you! As a director, I really love working with my designers to build each distinct world for every show, which are totally dependent on what the needs of the particular show are; i.e. which elements are in the forefront and which underscore more subtly. Chris Conard is our set and lighting designer (also on the advisory committee of Filigree) and Eliot Fisher is sound. We all collaborated previously on the Austin Premiere (and the the Filigree pre-season Los Angeles Premiere) of Any Night by Daniel Arnold and Medina Hahn. The challenge of Any Night was to create a world that was evocative of a ‘fever dream’ so I worked with both designers to create a more wild, impressionistic, surreal/nightmarish. (Eliot was nominated for B Iden Payne for Sound, Chris for Lighting for the pre-LA premiere/Austin premiere of that show)… The next performance (Betrayal) for me was all about restraint and repression and about things simmering underneath a very polished, clean, hard surface. For Betrayal I wanted very straightforward, simple, white, almost clinical lighting. I wanted the production to be all about Pinter’s words and the silences between. The only sound was era specific music (English, 1960’s/70’s) between scenes to evoke the era and emotions bubbling up under the surface.  

Eliot and I discussed sound for A Delicate Ship and talked about how it was, in a way, the inverted universe of Any Night. For Any Night, each distinct location in the play had a sound-scape with amazing interstitials of a car crash and glass breaking – we hear the aftermath, in a dreamy/impressionistic way – of a major accident.  In A Delicate Ship, the sound sneaks up on you. Eliot used some sounds from some of the pre-show music and slowed them down beyond recognition and added other elements into the mix to create the design –  to ‘feel’ the nostalgia inherent in A Delicate Ship – familiar but unrecognizable. In terms of the set and lighting for A Delicate Ship – the environment of that Christmas Eve is intentionally naturalistic: cozy, warm and then, lighting-wise, we are pulled out of this Christmas Eve present moment and thrust into a memory space (blue light) as the characters need to reflect upon Christmas Eve. The goal was to provide a visual analog to the ‘woosh’ feeling that the character, Sarah, describes overcoming her at times.Our next show, Trio, by Sheila Cowley, which will be going up at the end of April, is set in an old garage that is inhabited by magical, child-like  beings so the tone and the ‘world of the play’ will be a universe unto itself and the set, lighting and sound design will come from bringing that kind of a world to life.

Mallow: How does The Filigree Theatre go about choosing their selected plays of performance? I’ve seen two performances now, both very different and delightful. They seem to revolve around love, sex, family, the human psyche and time/memory. And they require very few characters, three to four people at most. Thoughts? 

Newman: Thank you! Our Season structure is “Past (part of the theatre cannon) – Present (playwrights living and working today) – Future (new works/world premieres)” with each season revolving around a theme. For our inaugural season the official theme is: Trios/Triangles – but there are ‘secret’ hidden themes that have emerged for Season 1, namely memory, deception, passion/time. Trio will have six actors on stage: two ‘trios’ – one of characters who are actors trying to rehearse children theatre and one of the ‘trio beings’ who are akin to elves or sprits. Right now we are in the process of setting the season/choosing the theme for Season 2. I personally like to direct smaller casts a bit like chamber music: it is ’chamber theatre’. For me, when there are only two or three or four bodies on stage, each look, gesture, silence is meaningful and powerful. We have Stage One, our staged workshop reading series, to have an opportunity to get to know different writers (playwrights/screenwriters – help them develop their work – build a relationship – grow projects). In terms of selecting a play, I reach out to resources: NY based Playwright Eleanor Burgess, our Literary Advisor; Alex Timbers, our Artistic Advisor; New Play Exchange and of course actors, writers, or artists who have a sensibility that is simpatico with my own and with Filigree’s. 

Mallow: What is the auditions process and how many actors/actresses do you have on board right now?

Newman: We had double auditions for Betrayal and A Delicate Ship last May (because we knew we were going to Los Angeles with Any Night for the summer and had to set auditions before we went) it was a kind of big round robin casting two plays at once.  We saw such great talent – and I’ve subsequently worked with some of the actors who auditioned for us last May in our Stage One readings and other short plays I’ve directed in festivals. We recently had auditions for Trio. In May, we will have our Season Two auditions (why cast only two shows at once when you can cast three, right?) We are intentionally not a actors rep. company – there are some great companies who are doing that already. For us, the season structure/theme is the guide and for us, and our priority is it that casting be based role by role as required by the individual plays and that play selection not be based on what fits our standing acting company. That being said, I love revisiting collaboration with actors and designers as we develop a short-hand and common references and I get to see the wonderful range and talent of the folks I’m working with. 

Mallow: From a lot of reading and studying articles about depression, and losing friends to suicide and looking back on their behavior prior to their death… I could tell Nate’s character was suicidal from the get go. I have written stories about unstable characters and I was wondering… Was it difficult or cathartic for both directors and actors to portray such delicate signs of dark depression? Does repeating such intense words night after night ever become heavy on the heart?

Newman: A Delicate Ship definitely deals with some pretty serious topics. In the work that we did to prepare for the show, the cast and I delved into how the ramp up to, and ultimately the playing out of the tragic event affect not only the character of Nate but also Sarah and Sam. I’m very proud of my cast for giving it their all each run and not shying away from the difficult material. They are pros and have the courage and stamina to go there each and every time. In some ways, I would imagine it is tough for Sarah (Laura Ray) and Sam (David Moxham) as it is for Nate (Nicholaus Weindel) as they have to relive the discovery and the repercussions of what transpires night after night;  Nate is convinced that he is going to get his happy ending right up to the horrible moment that, he feels, it is yanked right out from under him. Up to that moment he is living what is, in his mind, a sort of big climax of a romantic comedy or a Nicholas Sparks story/plot. 

Mallow: Why do you think the characters were playing a battle of the wits and playing passive aggressive mind games, taking intellectual jabs at each other to hurt one another, as opposed to directly getting to the root of the matter right from the get go? Christmas Eve nostalgia? Fear? Pride? Inexperience to deal with uncomfortable situations since they are all fairly young? 

Newman: That is such a good question. I feel like Anna’s characters are so nuanced and complex and well-drawn that they function as fully formed humans who are sometimes making choices or using tactics that they are fully aware of and sometimes going at their goals sideways, and at times without any self-awareness. At times each of the characters are reacting from a primal place: self-preservation, fear, anger, lust, longing. Sometimes they act from their ‘best selves’ and sometimes from their ‘worst’. Our job as an ensemble of actors/director is to pick apart these different moments and tease out how aware each character is of their own actions/words and their effect on each other.

Mallow: Memory is a topic that comes up a lot because we all take walks down memory lane every day… but, why does Sarah’s character often block out good memories: sex with Nate, talking marriage with Sam… generally we block out only the bad but her character seems to disassociate a lot even from joy. Why is that?

Newman: One thing that Laura (playing Sarah) and I discussed quite a bit was the process of mourning and grief and how the loss of Sarah’s father (just weeks before sex with Nate) and not even a year before this Christmas Eve has become intertwined with her experience and history with Nate. We discussed how the sexual encounter may well have meant wildly different things to each of them and that the memory and association with it may have each taken on a different hue with time and distance from it.  We joked that really Nate may be ‘The One’ for Sarah if he weren’t such an ‘emotional vampire’ and how that contradiction and conflict might play out for and within Sarah. Similarly, I feel like Sarah’s time with Sam becomes pierced through with the loss of Nate which overshadows any of the happiness Sam and Sarah had.

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Artwork provided by The Filigree Theatre.

For more information about The Filigree Theatre please visit https://www.filigreetheatre.com. The Santa Cruz Theater is located at 1805 East 7th Street, Austin, TX 78702. 

About The Filigree Theatre: 

“Co-Founded by Elizabeth V. Newman (Artistic Director/Co-Managing Director) and Stephanie Moore (Co-Managing Director), The Filigree Theatre is committed to producing high-level, professional theatre in the city of Austin and to collaborating with local artists working across creative disciplines including fine arts, dance, film and music.

The company’s name, ‘Filigree’, meaning “the complex intertwining of delicate threats of gold and silver,” was derived from the Latin words for thread (filum) and seed (granum), which serves as the basis for the company’s dual mission: to serve both as a ‘thread’ by connecting Austin to theatre communities in New York, Chicago, Los Angeles and London, as well as a ‘seed’by incubating, supporting and celebrating emerging theatre makers in Austin.  The Filigree Theatre is likewise dedicated to forging connections with diverse audiences across the region.

Newman and Moore have structured each season of The Filigree Theatre to be comprised of three shows connecting the “Past” (honoring the theatre cannon) “Present” (playwrights living and working today) and “Future” (world-premieres and new works) that are tied together with a common theme that runs throughout.  For The Filigree Theatre’s 2017-18 inaugural season, the theme is “Trios” and the three productions are (Past) Betrayal by Harold Pinter (Sept. 28-Oct. 8); (Present) A Delicate Ship by Anna Ziegler (Austin Premiere; Feb. 15-25); and (Future) Trio by Sheila Cowley (World Premiere; Apr. 26-May 6).”

Interview for The Hollywood Reporter: Greta Gerwig and her Directorial debut ‘Lady Bird’

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Greta Gerwig. Imagery provided by Sunshine Sachs/Photography by Jack Plunkett.

Last month I was commissioned by an editor in Hollywood to interview Greta Gerwig on the red carpet before the screening of her film Lady Bird at the Austin Film Festival in Texas on October 26, 2017. The Hollywood Reporter published the interview. (IMDb also redistributed the story.). I loved the film and it was a pleasure to interview Greta Gerwig. She was a smart, kind & articulate artist to interview. Therefore I was not surprised when I read this week that Lady Bird broke box office records.

“Lady Bird opened to limited audiences its first weekend, showing in four locations (making it a specialty box office release).” According to Jezebel “it blew past typical ticket sales for smaller box office openings of its kind, grossing $375,612 in fourtheaters, with a theater average of $93,903. That makes it the best speciality box office opening of 2017. For context, look at the numbers of comparable first weekend openings this year: Sofia Coppola’s The Beguiled earned an average $64,160 per theater in four locations the first weekend and The Big Sick grossed roughly $82,800 per theater it’s opening weekend in five locations. And, as IndieWire points out, since Katheryn Bigelow’s Zero Dark Thirty grossed roughly $83,430 per theater in five locations back in 2012, that makes Lady Bird the best ever limited debut for a movie directed by a woman. Since Lady Bird has already exceeded box office expectations, it will be interesting to see how well it does when it opens in more theaters during the next few months. And considering the rave reviews and ticket sales, I wouldn’t be surprised if the film lands several nominations around Oscar time, including Gerwig for best director.”

  • Greta Gerwig. Imagery provided by Sunshine Sachs/Photography by Jack Plunkett. 
  • Greta Gerwig. Imagery provided by Sunshine Sachs/Photography by Jack Plunkett. 
  • Greta Gerwig. Imagery provided by Sunshine Sachs/Photography by Nicolette Mallow.
  • Greta Gerwig. Imagery provided by Sunshine Sachs/Photography by Jack Plunkett. 
  • Imagery provided by Sunshine Sachs/Photography by Jack Plunkett. 
  • Imagery provided by Sunshine Sachs/Photography by Jack Plunkett. 
  • Imagery provided by Sunshine Sachs/Photography by Jack Plunkett. 

Known to most as an actress, Greta Gerwig has been part of the film industry in a multitude of roles both on-camera and behind the scenes during the last ten years: acting, writing, producing and directing. Within her recent film Lady Bird, Gerwig showcased her directorial debut as the exclusive writer and director. When I asked her on the red carpet when she knew she was ready to direct a solo project, Gerwig stated, “It was a very long process of writing the script but once I finished writing. I felt like it was the moment I worked toward for ten years and I’d always wanted to direct. And I thought, this is the moment, this is when you do it. I don’t know that you ever quite feel ready, but I think I felt like enough is enough. You’ve got enough training. Go for it.”

Gerwig’s movie has traveled to festivals worldwide, receiving accolades and high praises along the way. Lady Bird is a comedy about a young girl in Sacramento named Christine. She refers to herself as Lady Bird. It’s also a semi-autobiographical story about Greta Gerwig. The story revolves around Lady Bird’s senior year at a Catholic high school, figuring out how to leave home to pursue her life dreams in NYC because (she thinks) she hates California, only to realize how beautiful it is upon leaving. Lady Bird is a charming, evocative and beautifully stitched together film with hilarious, witty dialogue. Gerwig captures the melancholy, vibrant spirit of youth and the bond between mother and daughter.

To read more about Lady Bird and to watch the trailers, please visit the official Facebook page of the film at https://www.facebook.com/ladybirdmovie/.

Note: The original publication can be found online at The Hollywood Reporter’s website and IMDb.com.

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The magic of Euphoria Music Festival lingers

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The 2017 Euphoria Music Festival came to an end and yet the magical feeling of experiencing music with over 50,000 people in Austin, Texas lingers vividly in memory. I can still hear the crowd chanting at Chromeo, and I can relive the hypnotizing light show alongside Moby’s DJ set in my mind. Perhaps this is one of Euphoria’s most lovable and endearing traits: the music festival exerts a natural high of happiness and contentment that stays with you in silence even after it’s all over. For a few hours, everyone that passed the gates entered an intimate and intense world of music, dance, art installations and light shows. There were three stages on the map: Euphoria, Elements and the Dragonfly. The first two stages are the larger set-ups, but the Dragonfly stage is a beauty, waterfront to the Colorado River. A map of the grounds can be found on the official Euphoria app that was released in April.

Upon entrance to Carson Creek Ranch, the grounds are filled with bold, bright colors, canopies, giant tents, kites, butterflies, swing sets, hammocks, bubbles and an artisan alley. The festival even has a volleyball court, a wedding chapel and a giant Tree of Life. There is a sign below the Tree of Life that reads: Write down wishes, hopes, dreams, etc. and set ’em Free. It was very moving to see the thousands of notes left on the tree.

Watching the festival from above with its digital eyes that changed moods and colors as the sky shifted from day to night — at the Elements stage, there was a steep, tall fox (or wolf) overlooking the crowd. Several times I got lost staring into its round eyes as the music played. Like one of those vintage kitty clocks.

“Founded by Mitch Morales, the 2017 festival included headliners like Chromeo, Knife Party, Moby (DJ set), Oliver Heldens, Post Malone, The Disco Biscuits, Wiz Khalifa, Zeds Dead and many other artists; bringing the sum total of the line-up to 70. As the region’s largest independent music festival, Euphoria attracts over 50,000 fans each year, all while maintaining the qualities that land it on many annual Top 10 lists. Conveniently located just minutes from Downtown Austin, the multi-stage music and camping festival returned to Carson Creek Ranch on the banks of the Colorado River and offered world-class visuals, unique stage designs, artist workshops, interactive experiential installations, enhanced camping options and much more.”

Euphoria showcases the professionalism, style and acute qualities equal to a global event like Austin City Limits, Burning Man, or Lollapalooza. Festival-goers can see the time, love and energy invested into the decoration and preparation for the festival. However, unlike the ACL Music Festival that draws 450,000 people—Euphoria is much smaller in attendance and exposure. This independent festival deep in the heart of Texas provides a more intimate experience. Using the power of music to bring everyone together, Euphoria is a festival made for the community. The Euphoria Music Festival feels personalized and charming. The size of Euphoria provides a natural, easy-going way of drawing people together. Even if you are attending alone as a member of the Press, like me, that is one of the pleasant aspects of a festival is various walks of life coming together for the love of music.

Ultimately, the magic of Euphoria re-awakened my love for music festivals. It brought back the fun and joy of a festival that I used to feel when I was younger. As a local Austinite, I’ve been blessed to attend live shows and music festivals since before I could drive a car. I was one of the lucky people from Austin to experience the live music scene before it morphed into what it’s become today. (True, the music scene has improved with better venues, more esteemed artists and a boost in the economy, but it also came at a cost for the locals.) Years ago, I was so sentimental about live music. I saved all of my ticket stubs that are now in a box. Honestly, I don’t know how many times I wore a costume or got dolled up for a live show, like the night when I was the absinthe fairy covered in metallic glitter with green wings for Galactic’s Halloween show at Stubb’s. Countless days and nights, my friends and I would gather in masses to rock out, dance and let loose. Alas, after too many festivals and concerts for my stamina-—after one too many expensive tickets, late nights that lead to hangovers and dating too many musicians—the magic began to fade out. Secretly I started to become a little jaded: been there, done that and bought many, many t-shirts. The thrill of live music had begun to alter from love to stress. My heart no longer felt that spark like it once did when I was younger and I only attend concerts these days at specific venues and no more festivals. Fortunately, Euphoria brought that nostalgic, familiar adrenaline rush back into my heart and it reminded me why I used to love festivals so much. Euphoria made my heart feel lighter and made me feel younger. Frankly, I did not know what to expect at Euphoria. And to much delight, Euphoria Music Festival captured the intimacy of the art scene that used to be in ATX. I hope as the festival grows more and more each year that Euphoria will never lose its unique charm.

I highly encourage music enthusiasts to mark the Euphoria Music Festival on their bucket list. A strong indicator of whether or not a musical event was a success is greatly determined by if the audience transcended time. Meaning, while the band is playing, the DJ is spinning or the musicians are on stage, those in attendance lose track of time. We forget our worries, stresses and anxieties for a while. We are present in the moment and feeling alive in the rhythm of the music. Euphoria Music Festival can and will take you to an ethereal place.

To view the 2017 recap videos or purchase official merchandise of Euphoria Music Festival, please visit www.euphoriafest.com. #FindYourEuphoria

Velvet Caravan

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Velvet Caravan is a musical ensemble of artists worldwide based in The Deep South of Savannah, Georgia. Their genre is often described as “European redneck” music: an infusion of Southern, Gypsy, Latin and Honky-tonk styles all morphed into one band. Jared Hall (piano and accordion), Ricardo Ochoa (violin), Eric Dunn (bass), Jesse Monkman (cajon and percussion) and Jimmy Grant (guitarist) will be touring together this year and showcasing the unique style of Velvet Caravan.

“If one were to name one Savannah-based musical act that most exemplifies this time-honored, eclectic and adventurous city, they’d be hard to find a more appropriate ambassador than Velvet Caravan. This unorthodox, high-energy, acoustic-based quintet of guitar, violin, standup bass, percussion and keyboards (including accordion) has, over the past few years, emerged as one of the shining lights of Savannah’s burgeoning music scene. In that time, the band has grown from a somewhat informal instrumental combo which routinely drew enthusiastic and loyal followers at raucous restaurant and bar gigs to a respected and admired touring act that’s as comfortable in an attentive listening room or large concert hall as they are in a crowded nightclub. Velvet Caravan’s unique ability to subtly shift musical gears without sacrificing their integrity as composers and performers is rare indeed.”

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Imagery provided by Velvet Caravan.

Recently I met one of Velvet Caravan’s bandmates during my brief stay on Tybee Island, Georgia, a small beach town about 20 miles outside Savannah. Living waterfront at a beach house for two months, my downstairs female neighbor at the time was dating a key musician of the band. We all met around the time of Hurricane Matthew. It was a turbulent and exciting period in the weather and somewhat of a bonding experience for me. Everyone was talking about whether or not they would evacuate under state mandate or ride out the storm. Years ago, I lived within Savannah while I was a writing student at the Savannah College of Art & Design. Another turbulent time in my life, but not nearly as foreboding as the potential fury of the vast open sea and what may come if it decided to strike a direct blow to the coastline… As I rekindled my time in Georgia and relived my bittersweet nostalgia, as I faced one of my greatest fears of being caught in a hurricane or a curfew zone from dawn to dusk. I also met new faces and artists, such as a Velvet Caravan musician and his girlfriend, who loves to surf the waves.

One night as the three of us all got to talking. I realized that Velvet Caravan had performed during the 2016 SXSW Music Festival in Austin, Texas. The same year that I was on the Press list for the 2016 SXSW Film Festival. A festival in my hometown. Immediately I became more curious about the band Velvet Caravan. The Texan in me wanted to know more about their time in ATX: the alleged “Live Music Capital of the World.”

After we all returned from Hurricane Matthew in October, I came to hear that Velvet Caravan was booked to perform at a rock-n-roll venue I’ve frequented for years, The Jinx. The show was for a Halloween event called “Jinx-o-ween.” [The Jinx is one of the best live music venues in Savannah, if not the best in the city. And if you don’t believe me, just ask the vast majority of the locals in Savannah. The Jinx is a venue where I learned of bands like Baroness and Lucero. The Jinx is where I once sang “Ring of Fire” by Johnny Cash and “Alone Again Naturally” by Gilbert O Sullivan on karaoke night in front of the red curtains on stage. The Jinx is my favorite place to play rock-n-roll bingo.]

Velvet Caravan also closed for an after official party in October 2016 for the Savannah Film Festival. They’ve even obtained several awards and won titles like “Best of Savannah” in the Local Jazz Band/Artist category. Ultimately, if you live in Savannah, chances are you’ve heard of Velvet Caravan and they are surely making their name known tour-by-tour.

After I left Savannah and continued my journey to Saint Augustine, Florida: I followed up with Velvet Caravan for an interview. Thankfully after losing touch in Las Vegas, I had the chance to briefly interview the violinist of Velvet Caravan, Ricardo Ochoa, via email. The short interview continues as follows:

Nicolette Mallow: I really like the music played by Velvet Caravan, off the top of my head it reminds me a tiny bit of the movie Chocolat, specifically the song “Caravan”.

Ricardo Ochoa: Thank you. Yes, it is kind of like that movie but with a mad twist combined with honky-tonk, gypsy and Latin. It’s European redneck music at its best. Each of us have different flavor individually from around the world: Southern, gypsy, Latin Honky-tonk. I often try to explain the style at shows and after all the rhetoric I simply say: “Just listen to it. It’s European redneck music, you will get it” And suddenly the audience seems to know what it is upon hearing the music.

NM: How did Velvet Caravan come to be involved with SXSW? Does the group intend to return to Austin, Texas any time soon?

RO: We love Austin.  Jared Hall (our pianist) used to live there. He played keys with Colin Gilmore and other bands such as the Bastard Sons of Johnny Cash. Jared signed us up to three festivals without telling us and we didn’t get invited. Then he did it again two years ago (in 2015) and were invited to played at the Elephant Room, which we did. Later he signed us up again in 2016 and we were invited back. This time we were at the Victorian room. During this time Larry Kosson for Kosson Talent came to seek us out and signed us to his roster. Since then we have been increasing our schedule like crazy. We are playing concert venues, Jazz clubs and festivals more and more.  Not bad for a group that started playing casually, and mostly drunk, at a little restaurant in Savannah, GA.

NM: With such an unusual ensemble of Gypsy, Honky Tonk, Swing and Latin–does Velvet Caravan aspire to integrate more musical styles into the mix this year, or no?

RO: We can help to include different styles to our original tunes. We play acoustic instruments primarily, but don’t forget that we have a Hammond organ in our arsenal.  Jared is a Hammond artist and his chops are monstrous. There is a hint of gypsy-lounge with a touch of madness on some of our new tunes. We like aggressive tempos and changes, so the songs are never at ease.

NM: I read that your musicians are from all over the world: Slovenia, Texas and Venezuela. Where did the band mates meet and decide to come together to create Velvet Caravan?

RO: GypsyMingle.com.We all met very organically at a restaurant in Savannah. It started with violin and guitar as a Thursday and Friday gig. Then Eric showed up with a new bass, later Jared brought an accordion, so it was all 4 of us. After a couple of weeks Jesse showed up with a Cajon and it was the 5 of us. Next thing you know we are playing too loud and found ourselves fired from the place.

For more information regarding the band, tour dates and other miscellany, please visit their website at www.velvetcaravan.com.

Note: This story is also published on Rank & Revue. 

Mark Thomas Studio transforms and beautifies with their royal treatment and southern hospitality

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Photography of beauty parlor provided by Mark Thomas Studio.

Mark Thomas Studio will transform and beautify your hair, scalp and skin with their royal treatment. All guests will leave feeling refreshed, rejuvenated and more polished than ever before with the salon’s all-encompassing and luxurious products. Mark Thomas Studio provides exquisite services inside a fun, playful and relaxing atmosphere located in the heart of downtown Austin off West 38th Street.

This high-end salon is the only location in Texas that offers Philip Kingsley products and FACE Stockholm makeup together in one boutique. Mark Thomas Studio bestows exceptional service reminiscent of a lavish boutique infused with Southern hospitality, permeating luxury and gentility into one location. You will not find another boutique like it within all of Texas or the Midwest.

  • Photography of beauty parlor provided by Mark Thomas Studio.
  • Photography of beauty parlor provided by Mark Thomas Studio.
  • Photography of beauty parlor provided by Mark Thomas Studio.
  • Photography of beauty parlor provided by Mark Thomas Studio.
  • Photography of beauty parlor provided by Mark Thomas Studio.

“For those unaware of Philip Kingsley, he coined the phrase ‘bad hair day’ and is the world’s most respected authority on hair and scalp health. With over 55 years of Trichological experience, Philip Kingsley’s past and present clientele include politicians, royalty and celebrities. Called the ‘Hair Doctor’ by The Sunday Times and the ‘Hair Guru’ by The New York Times, Philip has written many publications on both sides of the Atlantic. Philip has recognized the need to bridge the gap between science and hairdressing as well as providing solutions for the most extreme hair and scalp problems, and those who just want the best from their hair.”

Whether you are in need of a new cut and color – or whether you seek a bikini wax and a deep pore facial – or whether you simply want to have a makeover. Mark Thomas Studio will cater to your every need without the stress. This intimate salon is perfect for men and women of all ages. And they offer the best products and services– striving for every client to leave satisfied.

For more information please visit their website at www.markthomasstudios.com or call Mark Thomas Studio at 512-459-6900. 

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Photography of beauty parlor provided by Mark Thomas Studio.

The Driskill Hotel hosts holiday traditions in Texas for more than a century

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December flowers at The Driskill Hotel in Austin, Texas. Photography by Nicolette Mallow.

On the first of December at six in the evening, The Driskill Hotel initiated its annual holiday celebrations beginning with the lighting of the tree and a double quartet of singers from Austin Opera. A decorated tree is positioned in the center of the marble floors and columns within the main lobby closest to the grand stairwell. This holiday tree is illuminated and glowing the entire month of December. The tree is so substantial in size that the gold star on top nearly touches the stained glass dome of the ceiling.

Throughout December, for nearly 130 years since it was built in 1886, The Driskill Hotel hosts annual time-honored traditions to celebrate the holiday season. Notably, The Driskill is the oldest operating hotel in Austin, Texas and the architecture is Romanesque in design. When you enter the hotel it’s like going back in time, or finding a magical hiding place in town, because there is something otherworldly about the building’s energy. Yet you know you’re in Texas by all the lone stars, leather, cowhides and southern hospitality. Even horse carriages still wait outside to take guests and locals for a stroll through downtown. An artistic infusion of different periods; there is no other structure in Austin quite like it. Blocks away from the Texas State Capitol, The Driskill is a Historic Landmark, and its European design carries a prominent, unique presence amongst modern-day architecture in the downtown vicinity. This refined hotel is aesthetically beautiful and elegant, inside and out. However, every December, as the holiday season arrives: The Driskill shines brighter than ever with its festive, colorful decorum and sparkling tealights. Even before entering the hotel, dozens of homemade gingerbread men can be seen dangling happily in the windows of 1886 Cafe & Bakery. The gingerbread men are reasonably large, decorated with smiles of white icing, red candied buttons, green checkered stockings, and eyes made of chocolate.

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In addition to the lovely holiday decorum on display the month of December, The Driskill will also feature holiday events on selected days and nights: seasonal music from a live string quartet, Afternoon Tea, an Afternoon with Santa, and Christmas Day in The Driskill Grill. Prices per event do vary. The Driskill Bar upstairs, which was recently named the best cocktail bar by The Austin Chronicle, hosts live music as well. Guests can escape the cold and warm up with snacks and a libation, or an apple cider, within the lounge area while enjoying the lyrics and melodies of various singers and songwriters. Don’t forget to try the mejdool dates wrapped in bacon!

Furthermore, on December 13th at 2:00 PM, Cookies for Caring is another holiday-related charity event at The Driskill. “In collaboration with the Austin American-Statesman’s Season for Caring, The Driskill is hosting a holiday cookie swap. Guests can create their own holiday cookie collection and a portion of the proceeds will be donated to The Austin American-Statesman’s Season for Caring charity drive.” Cookie tins cost $25 per person and will be waiting for guests upon arrival to the event.

Seasonally decorated gourmet cookies can also be purchased at 1886 Cafe & Bakery, a premier restaurant within the hotel named after the year The Driskill came to life. “The Driskill Hotel opened on December 20, 1886, to great fanfare and applause from Austin’s 20,000 residents. Since that time, the ‘grande dame’ of Texas hotels has remained a magnificent gathering place for locals, Texans and others to celebrate the holidays and other special moments of their lives in Colonel Jesse Driskill’s splendid Romanesque masterpiece. We invite you to recapture a nostalgic memory from a holiday season long past and to create new memories for your family and friends during our holiday celebrations.”

The Driskill Hotel holds 189 guest rooms and suites. Guests may also admire The Maximilian Room, the Governor’s Boardroom, the Mezzanine and the Victorian Room. For more information about holiday events, hotel reservations, catering, or The Driskill Bar and Grill: please visit their website at www.driskillhotel.com or call 512-439-1234.

Note: This article was originally published on Examiner.com in December 2015.