"It’s about inspiring a more visceral experience of the music" - Frank Boyd on KPLU Jan 6, 2015

by Erin

Florangela Davila talks with creator/performer Frank Boyd at KPLU:

Frank Boyd admits he is neither a jazzhead nor a jazznerd. He’s a newcomer to appreciating the music — music that he says has a public perception problem.

“People think it’s dead or boring, or that it’s background,” he says. “The music that I started getting into and that I’m playing in the show is explosive.”

The show – his show – is "The Holler Sessions," a new one-man production for the theater actor that’s premiering at On The Boards. Boyd plays an irreverent, cigar-smoking, towel-around-the-neck jazz radio DJ named Ray.

“He’s kind of inspired by 1970s-era George Carlin. Also a huge inspiration is a sports guy, Christopher 'Mad Dog' Russo,” Boyd...

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"Sometimes...an actor you've never seen before will steal the show" - Frank Boyd in the Seattle Times Jan 3, 2015

by Erin

The Seattle Times gets behind Boyd's The Holler Sessions:

Sometimes, quietly but indelibly, an actor you’ve never seen before will steal the show.

I observed just that some months ago in Book-It Repertory Theatre’s dramatization of the Michael Chabon novel “The Adventures of Kavalier & Clay.”

Frank Boyd gave such an in-depth yet nuanced account of Josef Kavalier, a troubled Jewish artist, magician and refugee from Nazi Europe, that he didn’t seem to be acting at all — just being.

That was the Houdini-esque illusion Boyd pulled off. Now he’s tackling another conjuring trick of his own devising.

Actor-writer-director Boyd...

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"A Window Cut Into a Soul" - Frank Boyd at City Arts Magazine Dec 30, 2014

by Erin

City Arts Magazine on Frank Boyd's The Holler Sessions:

Inside a cramped, dingy radio studio in Kansas City, Miss., an equally dingy jazz DJ is on a tirade against Rolling Stone or Mark Wahlberg or some equally infuriating travesty of pop culture. In the background, Duke Ellington’s “Basin Street Blues” plays; a trumpet solo starts and DJ Ray’s stream-of-consciousness commentary follows, relief washing over his face. This song, he declares, should be our national anthem—fuck that Francis Scott Key ‘’tis of thee’ bullshit. “What does that have to do with anything? This is us. It feels like us. It has all the layers.”

This continuous broadcast is the spine of The Holler Sessions, the solo show from writer-actor Frank Boyd...

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Erin Jorgensen | Concert Three Dec 26, 2014

by Erin

The third concert in the series of six went down in the OtB wood shop on Christmas Eve at 11pm. Thanks to everyone who attended and made this a most excellent holiday experience. Photos by Chelsea Williams and Bruce Clayton Tom. Scroll down for piece sources. 

Sources used in piece: JS Bach, Cello Suite 5 in C minor; OK Radio interview excerpts with Jim Fletcher and Jim Findlay; JS Bach, ...

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Frank Boyd in BODY magazine Dec 19, 2014

by Erin

oh how I love intelligent conversation 
that’s Bird Miles Davis Tommy Potter Duke Jordan and Max Roach on drums 
that’s like Thomas Jefferson Abe Lincoln Roosevelt and 
two other ones having a conversation only these guys can implement in real time 
“We collectively create a thing of beauty” 
Max Roach said that 
listening folks 
he’s talking about listening 
listening listening is like helping somebody shit into a bag

Want more? Check out an excerpt of the excellent writing from Frank Boyd's The Holler Sessions at...

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Studio Suppers at OtB Dec 15, 2014

by Monique

Check out this video by Jenise Silva at our last Studio Supper. Look at the list of upcoming suppers and reserve your spot for the next one!

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Erin Jorgensen | Concert Two Dec 9, 2014

by Erin

The second free concert in the series of six went down on Sunday, Nov 30th at 5pm. The audience was seated in the dark rehearsal room with the performance happening in the voms and back hallway. 

Photos by Chelsea Williams and Basil Harris. Scroll down for source materials.

Sources used in piece: JS Bach: Cello Suite 2 in D MinorSimone WeilGravity and Grace; Vic Chesnutt:...

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Transcendent Dec 5, 2014

by Wesley K. Andrews

People throw the word “transcendent” around pretty lightly these days but Now I'm Fine by Ahamefule J. Oluo is specifically and exactly that. I don't mean that the show is very good, although it is, or that it's beautiful, which you can't deny, or that he finds comedy in the low places of life, which he does swimmingly. I mean that the show itself – and particularly the closing musical number – is a highly focused act of transcending a traumatic event. I don't necessarily think he did it on purpose. But that's precisely what he did.

In Act 3 of Now I'm Fine, Oluo speaks in great and evocative detail about the autoimmune condition that caused his body to literally slough off its own skin. That part of the show was rough.

But next came his skin's regrowth, which was rougher. Oluo described excess protein calcifying over his orifices while he slept, necessitating a macabre cosmetic ritual where he...

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