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DTSTART;TZID=America/New_York:20241207T183000
DTEND;TZID=America/New_York:20241207T213000
DTSTAMP:20260423T224759
CREATED:20241002T010413Z
LAST-MODIFIED:20241125T232404Z
UID:18446-1733596200-1733607000@hangartheatre.org
SUMMARY:Hangar Hobnob
DESCRIPTION:Hangar Theatre’s 50th Anniversary Fundraiser: Hangar Hobnob\n  \nA Special Celebration Featuring a Concert Reading of A Christmas Carol\, Seasonal Music\, and Festive Food and Drink\n  \nSaturday\, December 7\, 2024\, 6:30–9:30 pm\n  \nJoin us for a joyful holiday tradition\, while supporting the Hangar Theatre’s artistic and educational programming! We’ll present a concert version of Ithaca-based playwright Aoise Stratford’s adaptation of Charles Dickens’ classic book\, A Christmas Carol and celebrate together before and after the show. A concert reading is produced with minimal staging and scripts in hand\, with a focus on the language and storytelling.  Produced at the Hangar from 2017-2019\, we are thrilled to share this relevant and stirring story with our community once again\, in a performance that will include many of Ithaca’s favorite performers. More information to come! \n  \nAll ticket sales and proceeds from this festive fundraiser will support the Hangar Theatre’s 50th Year\, including an exciting selection of mainstage performances\, KIDDSTUFF productions\, and dynamic educational programming for young people and emerging artists. \n  \nAll tickets include: \n\nAn all-appetizer catered reception\nOpen bar with local wines\, beer from Liquid State\, and a variety of non-alcoholic refreshments\nLive seasonal music\nA final chance to bid on items in our online silent auction\nThe opportunity to win a super special prize package filled with Ithaca delights including an overnight stay at the Inn at Taughannock\, dinner at Maxie’s Supper Club\, a bottle of Wagner sparkling wine\, tickets to a Hangar Theatre show\, and more!\n\nThe concert version of A Christmas Carol features Hangar favorites Greg Bostwick as Scrooge and Bob Moss as Jacob Marley\, also including Adara Alston\, Mike Cyr\, Chantelle Daniel\, Meg Elliot\, Robin Guiver\,\, Ifeoma Ihuoma\, Liv Licursi\, Max Lorn-Krause\, Kathleen Mulligan\, Dean Robinson\, Colin Smith\, Sylvie Yntema\, and Young Company members Atticus Cyr\, Langston Knight\, Theo Kuo\, Una Kuo\, Luciana Parr\, Gemma Phipps\, Gabriella Rubacky\, and Oliver Thoemmes! \n  \n  \n 
URL:https://hangartheatre.org/event/hangar-hobnob/
LOCATION:NY
CATEGORIES:Hangar Fundraising Event
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20241208T143000
DTEND;TZID=America/New_York:20241208T163000
DTSTAMP:20260423T224759
CREATED:20241002T010829Z
LAST-MODIFIED:20241125T232654Z
UID:18454-1733668200-1733675400@hangartheatre.org
SUMMARY:Hangar Hobnob – Community Performance
DESCRIPTION:  \nHangar Theatre’s 50th Anniversary Fundraiser: Community Performance\n  \nA Concert Reading of A Christmas Carol\n  \nSunday\, December 8\, 2024\, 2:30–4:30 pm\n  \nJoin us for an encore performance of the concert version of Ithaca-based playwright Aoise Stratford’s adaptation of Charles Dickens’ classic book\, A Christmas Carol for the community the day after the Hobnob.  A concert reading is produced with minimal staging and scripts in hand\, with a focus on the language and storytelling.  Produced at the Hangar Theatre from 2017-2019\, we are thrilled to share this relevant and stirring story with our community once again\, in a performance that will include many of Ithaca’s favorite performers. \n  \nEmbark on a journey to 19th century London in an encore presentation of A Christmas Carol.  Follow along with Ebenezer Scrooge as he is visited by the Ghosts of Christmas Past\, Present\, and Future in this timeless tale.  An intergenerational store of hope and redemption for the whole family. \n  \nAll ticket sales and proceeds from this festive fundraiser will support the Hangar Theatre’s 50th Year\, including an exciting selection of mainstage performances\, KIDDSTUFF productions\, and dynamic educational programming for young people and emerging artists.
URL:https://hangartheatre.org/event/hangar-hobnob-community-performance/
LOCATION:NY
CATEGORIES:Hangar Fundraising Event
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DTSTART;TZID=America/New_York:20241214T200000
DTEND;TZID=America/New_York:20241214T200000
DTSTAMP:20260423T224759
CREATED:20240625T124017Z
LAST-MODIFIED:20241014T230943Z
UID:18247-1734206400-1734206400@hangartheatre.org
SUMMARY:DSP Shows: Willie Watson Tour
DESCRIPTION:Saturday\, December 14\, 2024\nShow at 8 p.m.\, Doors open at 7 p.m.\n\nOn-Sale: Friday\, June 21st \n$25 in advance / $30 at the door \nPlease note – the Hangar Theatre does not handle ticketing for DSP shows.  If you need assistance with tickets contact DSP directly at info@dspshows.com or 607-280-2900. \nWillie Watson\nSoon before Willie Watson turned 18\, he met God in an apple orchard. Or at the very least\, he met there a man named Ruby Love\, the older friend of a high-school buddy who had an enormous Martin guitar and a seemingly bigger understanding of the American folk songbook. Watson was existentially thirsty: A high-school dropout from upstate New York’s Finger Lakes\, he was fast on his way to his first heartbreak and in a first band that didn’t take itself seriously enough. But that night in an apple orchard that had always seemed magical\, at a graduation party for one of his bandmates and best friends\, Watson and Love sang a few of those old songs together—“Worried Man Blues” and “Tennessee Waltz.” It was the first time Watson had cried while singing\, the first time he had made the connection between making music and making sense of his life. He never saw Ruby Love again\, but within months of that foundational 1997 rendezvous\, he met the musicians with whom he’d soon start Old Crow Medicine Show. Call it revelation\, fate\, resurrection\, whatever you will; for Watson\, more than a quarter-century later\, it was a duet with the divine. \nAs told in the talking-gospel masterpiece “Reap ’em in the Valley\,” that scene is the transfixing finale of Watson’s self-titled debut as a songwriter and as a human at last making music to make sense of his life. Yes\, Watson has released two albums since he left Old Crow Medicine Show a dozen years ago and since his long-term collaborations with David Rawlings and Gillian Welch. \nBut those records\, both titled Folk Singer\, were sets of tunes he knew\, interpretations of the songbook he has diligently mined since even before that night in the apple orchard. At 44\, however\, he feels that Willie Watson is his first-ever true album\, having finally lived and lost and simply witnessed enough to know he has something to sing with his exquisite rural tenor. Watson has not abandoned those old songs entirely. He dazzles during a robust take on the forever-curious “Mole in the Ground” and treats “Harris and the Mare\,” the standard of tragic Canadian singer Stan Rogers\, with total tenderness. But by and large\, these are his stories of heartbreak and hurt\, backlit by the corona of hope that only growth can provide. \nEvery memory\, Watson likes to say\, is surrounded by a shroud of sadness\, whether it’s good or bad. And there are lots of memories in a life\, all mixed: Though the band he started soon after that night with Ruby Love long gave him a purpose and career\, it conscripted him into a role as an old-fashioned folkie\, forever stuck playing a part that got tiring. Marriage and fatherhood became boons in their own time\, but they kept him bound to Los Angeles\, its sprawl and selfishness causing a country boy like Watson to lose himself again. And there was the stereotypical excess of it all\, too\, the habits of hard living nearly breaking Watson in his 30s. \nBut after he lost those relationships\, he slowly got sober and faced himself head on\, working to be honest about the traumas of his childhood that had helped create the troubles of adulthood. Sobriety\, though\, was never enough for Watson. He wanted that shift to prompt change and growth\, to force him into situations that were beneficial because they were uncomfortable and challenging. That\, in many ways\, is the motivation of these nine songs and the only album he’s ever felt deserved to bear his name. \nIn 2020\, Watson began convening with Morgan Nagler\, an actress and songwriter he’d met years earlier through Rawlings. They’d discuss an idea and then often sit in silence\, scratching away at it separately as Watson wriggled around on a couch\, as if wrestling with his past in the real time of the present. Sometimes playful and sometimes persecuted\, the songs that emerged looked \nbackward to move ahead\, dealing with disappointments in phrases of crisp rhyme and sly wordplay. \nA post-pandemic solo tour had left Watson feeling drained by the idea of being some standalone entertainer\, onstage alone taming crowds who had forgotten how to listen amid extended isolation. He knew he wanted a band for these songs\, but he understood they only needed to be the framing beneath them\, supporting rather than distracting from these reckonings with self. Alongside producers Kenneth Pattengale and Gabe Witcher\, respectively of Milk Carton Kids and Punch Brothers\, Watson assembled a modest ensemble of aces who were largely new to him but would respond to the songs intuitively and without intrusion—bassist Paul Kowert\, guitarist Dylan Day\, drummer Jason Boesel\, fiddler Sami Braman. (Careful listeners may note cameos from Benmont Tench and Sebastian Steinberg\, too.) Start to finish\, these songs sound like moments of mutual discovery\, the entire group arriving together to look at Watson’s life and realize something about and for themselves. \n“Real Love” harkens back to those days in rural New York\, with Watson opening himself to the wreckage that comes with falling for someone for the first time. He is fragile but resolute here\, pressing on in spite of vestigial pain. “Sad Song” thrums like some muted and modern Jimmie Rodgers number\, as Watson tries to play-act happiness one more time for a society that’s just wanted him to grin and sing. Echoing the rippling and beautiful despair of Gordon Lightfoot\, the gorgeous “Play It One More Time” examines the fleeting salve of music itself\, or how the help it gives us can fade when we’re not truly hearing. \nAnd then there’s the hotrod acoustic opener\, “Slim and the Devil\,” a wits-sharp adaptation of the Sterling A. Brown poem “Slim Greer in Hell.” The story of a Faustian bargain made with St. Peter at the pearly gates in exchange for one more earthly adventure\, it’s a sly contemplation of the meaningless deals we make to endure when we all know what’s inevitable\, anyway. Watson does it\, too\, so he winks at himself alongside a band that’s having a blast having his back. Still\, there is no winking to “Already Gone\,” a devastating if elegant survey of the damage we leave behind as we make bad choices\, as we force people to leave our lives. “There’s no hearts to break here\,” Watson offers before the knockout. “They’re already gone.” \nThese days\, Watson looks askance at his old reputation and knows other people do\, too. “‘I thought you were just some nice little singer who sang in the little fucking cowboy hat\,’” he deadpans\, characterizing the perception he knows he has in many ways courted. And he recognizes that people probably don’t think he can write his own songs of meaning and depth\, since he spent so long reworking those of others. For a long time\, he bought that\, too. But the hat is off\, as is the desire to be a mere entertainer or interpreter. The nine songs on Willie Watson find a bona fide songwriter dealing with the difficulties of his past to suggest a renewed future; what’s more\, he uses his keen and expansive understanding of an old lexicon to add his own new entries to it. As with the best folk songs\, you will recognize your own burdens here. As with the best folk singers\, you will feel compelled to sound them out\, too. Who knows\, maybe you’ll even meet God in an apple orchard.
URL:https://hangartheatre.org/event/dsp-shows-willie-watson-tour/
LOCATION:NY
CATEGORIES:DSP Shows
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20241221T200000
DTEND;TZID=America/New_York:20241221T200000
DTSTAMP:20260423T224759
CREATED:20241016T202442Z
LAST-MODIFIED:20241216T164942Z
UID:18506-1734811200-1734811200@hangartheatre.org
SUMMARY:Gunpoets
DESCRIPTION:Gunpoets\nSaturday\, December 21\, at 8 pm\nPresented in partnership between WSKG and the Hangar Theatre\n  \nTickets: $20 (Children under 10: $3) \nDoors Open at 7 pm; Show is at 8 pm \nPlease note seating is general admission for this performance \n  \nGunpoets\nSince the Gunpoets formed in 2008\, their stellar catalog of albums and dedication to an ever growing and energized fan base has helped propel them to the top of the Central New York music scene. This seven-member live hip-hop band from Ithaca\, NY\, uses voice as a weapon\, words as bullets\, spreading the universal message of peace\, love\, and justice through music with their positive message and uplifting performances. In addition to being one of the top homegrown acts in their musically rich hometown\, Gunpoets have become staples at regional festivals such as the Finger Lakes GrassRoots Festival of Music and Dance and the Great Blue Heron Music Festival. Over their 15 years together\, they have become in-demand headliners at clubs and concert series across the Northeast.
URL:https://hangartheatre.org/event/gunpoets/
LOCATION:NY
CATEGORIES:Community Partners
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