Article in the NEW YORKER about "Billy Blythe":
Bubba Buffa
by Kyle Brazzel July 4, 2011

Bowers, a striking woman with creamy skin and velvety black hair, asked for notes on the number, "Virginia's Aria / The Makeup Song." "It's interesting, because the music is really, really sexy," she said. "But, then, it's a conversation with my son. The song could be a slinking-across-the-piano, cabaret kind of thing. I'm just trying to figure out how not to be sexy around my son." Montgomery fished in her décolletage and produced a tube of coral lipstick, which she applied to her mouth. "People have said that's like an Oedipal scene," she said. "There's a book on the psychology of Bill Clinton, and how the women he's attracted to remind him of his mother." "It's funny you would say that," Bowers replied. "Someone once told me I look like Monica Lewinsky."

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"Billy Blythe"
Medicine Show Theater, New York City, June 19

"Billy Blythe" Medicine Show Theater, New York City, June 19 Spoiled theatergoers accustomed to well-funded spectacle might arch an eyebrow whenever they hear that a production is foregoing distractions like costumes and props so that "the focus is on the material." Just like real-estate-speak heralding an undesirable location as mere "minutes away" from a destination, black-box theatrical readings — typically script-in-hand, half-baked recitations to interest investors — have a way of driving home the feeling that you're not where you want to be, but you can almost see it from there.

Thanks to powerful singing and credible emoting, the Metropolis Opera Project's development reading of "Billy Blythe," by now short-handed by most Arkansans as the Bill Clinton opera, emerged as a destination rather than a way-station when the fledgling company brought it to life in Manhattan earlier this week (after billing it as — that's right — a developmental reading where "the focus is on the material."). If the 11-member cast did not meticulously summon Hope and Hot Springs as the towns awaited their share of America's postwar boom cycle and the agitation of the Civil Rights movement, the performers at least executed a quick and vivid sepia-tinged sketch, the most that can be asked of a one-act play — which the work, crafted by onetime Ouachita Baptist University classmates Bonnie Montgomery and Britt Barber, essentially is.

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Poetica Musica Concert : "Masters of Modern Spain"

On Saturday, Oct. 15 at 8 p.m., Poetica Musica at Old Westburly Gardens will
feature "Masters of Modern Spain." The event will take place in the Red Ballroom.

With special support from the Consulate General of Spain in New York and the
Manhattan School of Music. Old Westbury Gardens is hosting this special evening featuring works by Da Falla, Rodrigo, Turina. and other composers.

Special guests artists, Jesus Reina, violin, and Jessica Bowers, mezzo-soprano, will join Poetica Musica.

Poetica Musica is a consortium of eight musicians who are currently, Artists-in-
Residence at Westbury House, a stately mansion on the grounds of Old Westbury Gardens located on Long Island's North Shore. Individually and collectively, members have perfomred in such music festivals as Tanglewood, Ravinia, Aspen, Jerusalem and Edinburgh and with the Metropolitan, New York City Opera, Minnesota, Chicago and Houston Opera Companies.

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Hansel & Gretel
Spokane Opera 2007
with Heather Holzapfel as Gretel


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