November 2013
This month, let us take you back to the bye-gone era of smoke-filled jazz bars, flashy showgirls, gamblers, riverboats, and the sleepy, sticky heat of New Orleans circa 1930.
Group Choreographer Knox Harter
Producer Anna Jaeger, Knox Harter, Laura Furtado, DivaGirl Entertainment, Parlour Costumes and Styling: Knox Harter Media and Marketing: Knox Harter Show Times:
Friday November 22nd, 2013; 9pm Location: Parlour 270, 270 Adelaide St. W, Toronto Tickets: $20 in advance, $25 at the door, Group of 4 tickets with VIP seating $150 |
This production would be described by the artistic directors as a “growing pains” show. Anna and Knox had felt they had established a structure in which they wished to operate, and entered rehearsals with every intent of following that structure. However they were about to encounter a wide variety of hurdles. From the start, Knox noticed Laura’s lack of care and attention to the promotion of the show. Fearing they were on a downward slide after seeing a lack of ticket sales for Diamonds and Daggers, Knox took initiative to create promotional material for the show, taking photos with her phone of each cast member during one rehearsal and posting it to social media.
Anna, 6 months pregnant with her first child, created her “Barefoot and Pregnant” burlesque act, specifically catered to her pregnancy. Rehearsals were held at City Dance Corps at Queen West and Spadina and consisted of the entire cast, twice a week for two hours each rehearsal over 4 weeks. Quickly, Knox noticed a slightly more combative tone from a couple of the dancers, with one in particular showing a regular pattern of being difficult. Just over one week before the show, this dancer would provoke an argument during rehearsal, and would be asked to leave. Knox, who originally intended to stay off stage and oversee the production, would step into her place for the group numbers and as an additional solo act. As Knox was set to leave for a week for a teaching contract in BC, her challenge would be relearning the choreography in another province separately from the rest of the cast, while they continued rehearsals back in Toronto. Five days before the show, The Courthouse would stop responding to any communication from Laura, who was confirming details of the performance. Ghosted by the original venue, Laura was able to secure Parlour 270 at John and Adelaide. While happy to have a venue to perform in, the differences between the two locations was drastic. The show had been choreographed and built around the Courthouse stage, which was approximately twenty feet long and eight feet deep, with a large ballroom for booths and standing room. Parlour, conversely, was a much smaller and intimate venue, with a five by five foot stage and holding an audience capacity of about 50-60 people. “I was making my solo for this show on the plane ride home. Literally, I hopped off the plane from BC, briefly went home to switch suitcases and pack my costumes, went to a new venue, and began troubleshooting an entire show in what felt like a totally opposite space. Dealing with such a small stage with no preparation and choreography that was specifically choreographed for the length at Courthouse was stressful, and I truly didn’t know if this show was going to come together.” - Knox Harter After a very trying tech rehearsal, the cast pushed forward. The show opened with a guest tango troupe called Media Luna Tango Ensemble, while the show itself featured its first guest burlesque artist Bianca Boom Boom. While there were plenty of technical hiccups during performance, the energy in the room was high and the show was enthusiastically received in its new venue.
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April 2016
After the crash of 1929, a New Orleans speakeasy struggles to keep the lights on, but something strange has been happening to the staff and patrons. Meet the players who frequent this den of sin, and discover what other worldly force has been coercing them to a life of booze, sex, and jazz!
Group Choreographer Knox Harter
Producer Knox Harter, Anna Jaeger Costumes and Styling: Knox Harter Media and Marketing: Knox Harter Show Times:
Thursday April 14th, 2016; 9pm Friday April 15th, 2016; 9pm Saturday April 16th, 2016; 9pm Location: Parlour 270, 270 Adelaide St. W, Toronto Tickets: $20 in advance, $25 at the door, Group of 4 tickets $60 |
Seeing an opportunity, Knox and Anna decided to remount and revamp Down in Old New Orleans. Knox would take a good look at group choreography and structure from the previous version of the show and make adjustments to specifically cater to the space in Parlour. Anna was six months into her second pregnancy and saw hurdles in performing in the show, including managing a rambunctious toddler while rehearsing. Regardless she and Knox would create a new incarnation of her solo “Barefoot and Pregnant”, giving it a grittier and darker feel.
“I really loved the new version of my act, and appreciated that that would be the last time I would perform it (since I knew I wasn't planning on having more babies), so it felt very special and was an experience that I will never forget.” - Anna Jaeger Knox would also try adding live music performance to the show for the first time, inviting Bella Canto to sing “House of the Rising Sun” as an opening act. Rehearsals were held for the first time in Knox’s apartment: a space she has cleared out and arranged specifically to hold High Society Cabaret rehearsals out of.
During tech rehearsal in the venue there was a verbal altercation between Knox and one of the two owners. Knox had secured the space during the day with the other owner, but his brother was left unaware and decided to also use the space for a meeting at the same time. This resulted in the present co-owner to berate Knox in front of the cast for being disruptive. This conversation would prove very upsetting and Knox immediately reported this interaction to Anna. With a new venue interested in bring on High Society Cabaret, this show would be the last the company would present at Parlour. The production would sell out two of three shows, and the performances were well received. Thrasher would surprise the cast with one of the most charming kitten performances the company had ever seen. |
