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themastercylinder · 5 years

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PLOT

A Roman Catholic priest, Father Damon, murders a man outside a castle-like estate on an island in upstate New York. The man he kills claims to be Lucifer himself, and promises to return. Decades later, in 1963, Andrew Williams is born. After his mother is paralyzed under mysterious circumstances, Andrew’s father realizes something is peculiar about his son, eventually coming to the realization that Andrew is the son of Lucifer. As a senior in high school, Andrew is withdrawn and socially awkward, and as a result is often bullied by his peers. Andrew feels drawn to the estate where Father Damon committed the murder, which is due for demolition for an impending golf course.

At school one day, one of Andrew’s tormentors, Tony, attempts to harass him in the gym shower. Overcome by strange powers, Tony kisses him in front of their peers. The event leaves Tony hysterical, and he leaves, terrified of Andrew. Later, Andrew is notified that he has received scholarships to several Ivy League colleges, including Yale and Harvard, but is insouciant to the news. Meanwhile, a local elderly woman, Margaret, visits Father Daly at his parish, and discusses Damon, whom she knew personally; Father Daly insists Damon wrongly murdered the man, though Margaret believes he was in fact Lucifer, and Father Damon, a manifestation of the archangel Raphael.

During a gym class, one of Andrew’s classmates, Mark, inexplicably suffers ruptured organs during a dodgeball game and dies. Mark’s girlfriend, Julie, is distraught, and shortly after begins having bizarre visions of Andrew raping her. She later hears voices calling her Gabrielle (a feminization of archangel Gabriel), and is directed to Margaret’s home by the disembodied voice of Father Damon. Margaret appoints Julie her protégé to battle Andrew.

On the night of a school dance, Andrew arrives at the castle estate and invokes Leviathan and Beelzebub, and summons the undead from grave sites on the property. At a local bar, Andrew’s father drunkenly raves about his son being the devil before returning home and shooting his wife in the head. Simultaneously, a group from the school is showing an outdoor play retelling the life of Jesus. During the scene of the crucifixion, the actor onstage begins exhibiting real stigmata, causing the audience to flee in horror.

On the island, a group of teenagers arrive to party after the dance, including Tony, his girlfriend Marie, Brenda, and others. After arriving at the castle, they are accosted by the undead. Marie is killed, and Tony and Brenda flee to an upstairs room, where Tony finds he has inexplicably developed breasts. Andrew enters the room and kisses him, after which Tony stabs himself to death. Andrew carries Brenda outside and lays her on an altar, where he stabs her to death.

Margaret and Julie arrive on the scene, brandishing Father Damon’s processional cross, which causes Andrew to recoil. Margaret forces Andrew to recite the Lord’s Prayer, and he transforms into Mark, tricking Julie. Margaret intervenes, and he kills her by breaking her neck. Julie watches as Andrew transforms into Lucifer, but is able to defeat him with the power of Father Damon’s crucifix. The spirits of Julie, Father Damon, and Margaret—the three archangels—coalesce, as Andrew is engulfed and destroyed in a beam of a light.

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BACKSTORY

Drawn loosely from the Book of Revelations, Fear No Evil deals with the incarnation on Earth of Lucifer, and his battle for supremacy over God’s faithful, a battle which ends with a confrontation with God Himself in a spectacular scene of Devine Intervention. La Loggia, who directed the film from his original screenplay and plans to score it as well, is fully aware of the similarities between his film and Hollywood’s big-budget Anti Christ extravaganzas, THE OMEN and OMEN II but he bristles at the suggestion that BEAST is a rip-off of previously-explored conventions.

Said La Loggia, ” Fear No Evil” is unique. We’ve gone ahead and actually personified the devil as a character and as a human being who is at odds with himself about who he is. Lucifer is a young man who is reborn in a little fishing village in upstate New York. He’s 18 years old and a brilliant student. He’s very much at odds with who he is, so he’s doing battle within himself at first, denying the evil that lurks within him, but then gradually giving way to it. He’s an extremely sympathetic character, one that I think the audience will want to hug and push away at the same time.

“While THE OMEN and THE EXORCIST were extremely slick and technically commanding,” he said, “they still missed the real point of the dilemma of what it must be like to actually be the devil.”

“The local newspapers were very intrigued by the whole idea,” he said, “and we gathered a lot of publicity. We had an open casting call at the local PBS station in Rochester and more than 2,000 people showed up in two days. I cast six lesser roles and the rest of them had an opportunity to work as extras. There’s a mass panic that takes place during the staging of a passion play in this little village. We had close to 2,000 people there for seven nights.”

It’s still a little early to tell if La Loggia’s claims for the film are based on hope or hype. There are lengthy editing chores ahead and the crucial search for a distributor. But La Loggia is confident the film will be in theaters this summer. “Two of the majors have already contacted us,” he said, “and unless I’m grossly mistaken, I’m sure the picture will win major distribution.”

To stretch the budget as far as possible, La Loggia tried to The accommodate many of the necessary special effects on camera. One of the most difficult effects scenes, in which the young Lucifer (Stefan Arngrin) uses his powers for the first time, took four days to get on film. The scene takes place during a high school game of battleball, in which opposing players try to hit each other with soft rubber balls. The coach, under Lucifer’s demonic influence, releases a ball at such terrifying speed that it kills one of the players. La Loggia and cinematographer Fred Goodich used a special rigging of wires (invisible because of the lighting and fast film speed) to make the sequence work.

John Eggett, our man in charge of live action special effects (as opposed to the optical, done in post production) rigged a harness in preparation for the death scene of Mark (actor Paul Habor), which takes place in the gym. The script called for Mark to be hit by a rubber ball that is under demonic control-hit so hard that he flies ten feet before dashing his brains out on a wall. It took ten grips to yank the harness rope with sufficient force for the effect; Haber was protected from real injury by a special rubber pad insulating the harness and a piece of sponge rubber attached to a wiglet that was crocheted into his real hair.

Special effects were also important. for the film’s finale. “We have a spectacular ending,” La Loggia said. “It involves Divine Intervention. A Godly light makes its way from the heavens and decides Lucifer’s fate. We secured as many of the elements as we could on camera through lighting. Those elements will be reinforced later in an optical house.”

Originally, Rob Blalack (who handled optical work on STAR WARS) was hired to handle post production effects. But Avco has shifted the responsibility to Peter Kuran’s new company, Visual Concept’s Productions. Kuran was in charge of rotoscope and cel animation on THE EMPIRE STRIKES BACK.

The film’s ending is suggestive of Ray Bradbury’s published version of how ROSEMARY’S BABY should have ended-with Rosemary scooping up her demon child, running to St. Patrick’s Cathedral, where she begs God to at last reclaim his cast out child. “Our picture ends with a plea from Lucifer for forgiveness.” La Loggia said. “But his plea doesn’t work. It’s a very compelling moment in the picture.”

The film’s opening and closing sequences were shot at Boldt Castle, a tourist attraction located on an island in the Thousand Island area of the St. Lawrence River. Built by a fella named Boldt” between 1900 and 1904 in homage to his ailing wife, it was abandoned after her death and allowed to fall into ruins. “We’re used to seeing a castle in a horror picture that’s opulently dressed,” said La Loggia. “But this place is abandoned, you could walk around in the daytime and get shivers.”

Richard Jay Silverthorn as Bonnomo, the earlier 1961 incarnation of Lucifer

BEHIND THE SCENES with Richard Jay Silverthorn Make Up Artist

“Here’s what I need,” La Loggia told me, his eyes sparkling with enthusiasm for his first feature production. “Can you do an army of walking dead? Design me a frightening face and body for Lucifer’s final revelation, something unique, something we’ve never seen before. Can you make a stomach wound that will pop open and squirt blood as if cut by an invisible knife? Or grow female breasts on a man?”

He showed me some paintings by Frank Frazetta that he felt conveyed the same “feel” he wanted for his presentation of Lucifer. His first draft at the time carried the title The Antichrist and concerned the Prince of Hell, incarnated as a high school student in a small town in New York state. The emphasis was to be on Lucifer as a fallen angel, who once had a place in heaven among the other archangels. To punch home his concept of the Antichrist, the lead character, Andrew, was originally conceived as a soulful young man with long hair and a beard-a Christ like countenance. This concept was changed later, when clean-shaven, boyish Stefan Arngrim made an electric impression at his audition and snared the lead role.

In turn, I showed La Loggia two of my USC graduate films which involved aging make ups, a mummy and rubber prosthetics. We shook hands, and I was told I had the job. While I waited for the end of the summer and the start of principal photograph, La Loggia firmed up the use of locations in Rochester, N.Y. interviewed others for various crew positions, and began auditions. Smaller parts were cast through “open call” auditions in Rochester, while the leads were chosen in Hollywood.

When Frank gave me a draft of the script to begin makeup budgeting, I was excited over the idea of playing the role of Bonnomo, the earlier 1961 incarnation of Lucifer, who has a spectacular death scene early in the film. I had always wanted to be a monster in a horror movie since I was a little kid, so I did a test makeup of myself as I saw the character When La Loggia saw the stills I had taken while he was in Rochester, he agreed that I should play the role. I was beside myself!

La Loggia showed me stills of the locations he had secured, including Lucifer’s unholy temple, the Boldt Castle: a real, crumbling, ruined and unoccupied castle on a little island near the town of Alexandria Bay, New York, the Thousand Islands. Alexandria Bay and Rochester were combined to make up our mythical fishing village of St. Lawrence, New York. For the next few weeks I fantasized being the Devil, and running through the shadowy clammy corridors of the Boldt Castle.

Boldt Castle

On July 19th I officially signed my contract with La Loggia Productions as actor and makeup artist, and began pre-production. Frank’s second draft changed Bonnomo’s scene, dropped other scenes and revised and tightened the whole. I had only $1,000 for makeup for the entire cast, so the effects and supplies had to be geared to necessity. Through early August my time was occupied with taking plaster casts of actors hands, chests and faces, assisted by Claire Ohlmiller, a professional hospital technician who does molds for artificial limbs. La Loggia Productions flew Stefan and me to San Francisco for fitting of the special yellow “cat’s eye” contact lenses made at a clinic there. At last, with all plaster molds wrapped in blankets and loaded on a truck bound for New York, moved out of the apartment I’d lived in for ? five years, and ended my lingering ties with the USC neighborhood.

We arrived in Rochester, New York on August 22, to be joined by our Rochester cast and crew, covered by TV cameras as celebrities. A real Hollywood horror film on location. Already the excitement was in the air. The crew was young, many between 19 and 25 years old, naive and eager to dig in. Since we all lived together in one motel (except for crew members who were Rochester natives) the atmosphere of camaraderie and mutual support happened easily. The La Loggia cousins, Frank and Charlie, held meetings with the heads of the departments regularly, to air questions, problems and insure that schedules were coordinated., Carl Zollo was head of the art department, Fred Goodich, Cinematography, (they were among our older crew members) and Dennis Carr, Sound Recording. There were various assistants in each department, as well as several assistant directors whose responsibilities were scheduling, transportation, crowd control, equipment handling and any other troubleshooting that might come up along the way. The assistant directors often stood between success and disaster in seeing that people and equipment were at the right place at the right time.

That first night in Rochester we had a crew banquet at which I met my assistants: Richie Bennett, who had done the impossible task of finding me a 5′ x 12′ walk-in oven to bake the huge plaster molds, Chip Leiberman, who followed me like a shadow on the set and had all my supplies ready for touch-ups like a nurse assisting in surgery, and Cheri Montesanto, daughter of Frank Montesanto, our hair stylist of Monty’s Unisex, a Rochester area salon. Hair styling and makeup were closely coordinated for the finished effect. Since there was an 18 year time span, this was skillfully indicated by Monty’s changing hairstyles and gray tones, (or dark rinses) as well as by my painted wrinkles.

Since a motion picture must be filmed according to the weather or availability of locations, or actor’s availability, rather than script order, we had to shoot all the high school scenes first, before the school year began. Spry High School in Webster, NY became St. Lawrence High. Because the semester hadn’t begun and the school’s boilers weren’t turned on, our actors had to take freezing cold showers for one of the first sequences put on film, where the class bully makes the mistake of picking on Lucifer in the gym shower. Professional troopers in spirit, the scene was shot without a complaint and stands out as a showcase of acting ability for Stefan Arngrim and Daniel Eden.

https://dailymotion.com/video/x2oqm38

A Rochester family with a lovely little house on the shore of Lake Ontario consented to the use of their house as a location. According to the script, the house degenerates as the marriage of Lucifer’s terrified parents, Mr. & Mrs. Williams, degenerates. The effect was accomplished by the art crew progressively messing up the house-shingles were torn, screens twisted, weeds and vines arranged all over the sidewalk and front porch for the most extreme result of 18 years of neglect. Then the entire house was cleaned and repainted, the front lawn edged and trimmed to neat perfection for the house’s original look before the birth of the little “bundle from Heaven.” Thus we left our hosts with their house in better condition than when our crew arrived. The shots were spliced into script order later, in the editing room. Since sequences here had to be shot according to ease of lugging cameras up and down stairs, as well as in reference to daylight, it was necessary to age Mrs. Williams (Alice Sachs), make her young again, and age her again for the final shot of the day. Once characters were made up, I was free to continue sculpting prosthetics which I started bringing to the set, in order to cut down night hours and still be available for touch-ups when actors got sweaty under the lights.

The opening title shot of the film runs over a very long camera dolly shot from Lake Ontario, around the House and to the front porch. Plywood was laid down in a track over which the dolly was pushed. Actors were cued into action as the camera approached and then passed them as they enacted guests at the baby Lucifer’s baptism party. Director La Loggia walked behind the moving camera, coaching the actors verbally since the scene was shot MOS (a term meaning “Mit Out Sound” which comes from the German immigrant directors who worked in Hollywood during the earliest days of sound filming.) Sound effects were added later.

Rain or shine, the filming schedule was adhered to whenever humanly possible. Certain night scenes were actually filmed during a light rain, which did not show up on film, but gave the actors an extra challenge-not to shiver. After filming at the house was completed, the crew moved equipment to Charlotte Beach, where the “Passion Play” scene was photographed. A panicking crowd scene was a plot element here, so ads were placed in the newspapers and radio for anyone wishing to appear in a horror film to show up at the public beach. A thousand eager people stayed on the beach for three nights starting from about 7 PM to 3 or 4 AM. Megaphone in hand, Frank La Loggia instructed the crowd in actions as they portrayed an audience coming to view an annual church play on the final days of Christ, only to be involved in an unbelievable horror-the actor on the stage actually bleeds and dies on the cross, and the audience experiences stigmatism.

Screaming and bleeding, the freaked-out audience runs in every direction for their lives. Some fall into the lake as lightning bolts (added in post production) strike all around. “All Hell breaks loose” with stage lights exploding from charges (called “squibs”) pre-set by John Eggett and his crew. These were later matched with hand-drawn lightning bolts. One of my best rubber prosthetics in the picture was the tissue-thin rubber stomach appliance so that “Christ’s” stomach could seem to be pierced by an invisible lance and run blood. A rubber piece of surgical tubing was run under the actor’s loincloth and glued to his stomach. A preslit rubber “skin” was applied over the surgical tubing with a “ripcord” of transparent fishing line attached. The other end of the surgical tubing was fastened by Eggert to a massive insecticide sprayer to pump blood through the stomach, to tubing run under the wig and behind the wrists. The effect was gruesome and realistic.

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With all but one scene in the Rochester area shot, the cast and crew packed up for a day of driving to our next location, the Boldt Castle. All of the crew, that is, except for me and my high school assistants, who stayed behind to bake the foam rubber prosthetics in the large kilns at the Rochester Institute of Technology Ceramics Department. Richie Bennett was by then trained enough to take over makeup for Mrs. Buchanan’s head wound, and Chip and Cheri handled other characters’ basic make ups.

Working with plaster molds which in some cases weighed over 100 pounds and carried over a gallon of foamed rubber was a new experience for me. Fortunately one of my assistants was a little guy who could climb into the kiln, holding one end of the mold, and then position it and climb over it to get out. A special problem was temperature.

The foam rubber had to be cured for at least 3 hours at a temperature not more than 250 degrees or less than 200 degrees. However, the kilns were made to fire ceramics at temperatures over 1500 degrees, so that we couldn’t leave the kilns on, for very long. The gas had to be turned on and off and the kiln door opened and closed as the only means of keeping temperature constant. The first trial prosthetics came out either under-done or overdone until the method was perfected. Varying thickness of plaster in the mold was part of the problem, but we ended up with at least two acceptable prosthetics from each mold as a backup in case the rubber tore or a scene had to be re-shot. Every trace of plaster had to be cleaned before we left, since plaster is incompatible with ceramic and could have ruined any pottery or sculptures being created by the students.

Before leaving Rochester, I brought dental casting stone casts of teeth to a dental technician who instructed me in the making of our prosthetic “fangs.” A soft pink wax was sculpted over the mouth casts with metal instruments heated in a gas flame. Then a plaster matrix was laid over the wax until it hardened. The pink wax was boiled away, and dental acrylic resin used for making false teeth was applied into the space formerly occupied by the wax. This quickly set and was then drilled and finely-polished by a high speed drill with various precision attachments. Finally the teeth were painted with acrylic to match our gum color and define cracks and spaces between the fangs. They snapped over our own teeth and required no pastes or powders to hold them.

Rejoining the cast and crew who were now split between two motels in Alexandria Bay, I “youthened” Mr. and Mrs. Williams and Father Daly for the 1963 scene of baby Lucifer’s baptism. Here John Eggett had rigged up a baptismal font which would boil as a mysterious wind blew through the church, a Divine protest against the baptism of infant Lucifer.

Richard Jay Silverthorn’s novelization of the 1981 horror film Fear No Evil. The director sold him the rights for $1. Silverthorn’s novelization was published in 1981 as Satan’s Child

Starting Saturday, October 6, the most hectic on-the-set makeup work began: the Army of the Dead rising from their graves. Derek and Collin, my high school assistants took off the week from school to join us on makeup crew, as well as appearing in some background scenes as extras. For thirty ghouls, we needed every makeup hand we could muster. Corn flakes, Quaker oats and liquid rubber were applied to texture the skin for the “rotten” effect. Certain “key ghouls” wore prosthetics sculpted by Collin Pingleton one with an eyeball hanging out, another with the cheek ripped away and teeth exposed. These were combined with rubber bald caps and patchy applications of crepe hair and painted over with custom-blended rubber mask paint for the finished effect. Eggett rigged up a false wall for one ghoul to crash out of, buried another alive so that he could crawl up from a grave, and make two others break out of stone work. This army of the dead was supposed to be the construction workers who had built the castle and then been buried alive, only to be possessed by “stay-behind” spirits subservient with hot coco and coffee. It was strange to see rotten ghouls huddled up in blankets and parkas, looking out for the first snowflakes of the year and shivering together. They had to shed the protective clothing for tattered rags while before the cameras. Most of our ghouls were recruited by a production assistant from neighborhood bars, though some had auditioned in Rochester and were chosen for large, bulky bodies. One of our larger grips also doubled as a ghoul, and had to wade through near freezing water to drown two nude swimmers. Needless to say, this scene was strictly one-take. A special room in the castle was kept warm with a roaring fire as a refuge for the near-frozen.

Jack Holland, a fine old actor who portrays Father Damon, incarnation of the angel Rafael, arrived from Los Angeles for his two weeks of shooting. We hustled him off the plane and into a rowboat for the opening shot of the film, then put him into a burlap robe with a scruffy beard growth glued on and filmed his death scene in the insane asylum. The unfinished rooms in the basement of the castle doubled for the asylum. Some viewers may be quite disturbed by the many dead animals appearing in the first scene as the aftermath of a “black mass” my character of Bonnomo is supposed to have committed. May I assure the reader that the animals were purchased quite dead and frozen from a lab. It was difficult to eat our 3 AM dinner break after shooting that scene, but the convincing effect of the “suffering to all God’s creatures” that Lucifer vowed was powerfully conveyed by the arrangement of hanging bodies before the huge inverted cross. At last my scenes in the film were scheduled for shooting. On our house boat dressing room, Monty shaved my hair back into a severe widow’s peak; mortician’s wax was applied to make my ears pointed, and subtle shadings changed the lines of my face to Satanic, angular planes. With the yellow contact lenses in place, I had to be led to the set and rehearsed in my movements slowly, since I was nearly blind. Once the cameras were rolling, I thought only of the audience experiencing the presence of the Devil on the screen. I wanted to scare the hell out of them! Stretching my mouth wide open to show my fangs, I ran toward various markers which were light-colored so I could see them through the lenses. In one shot three grips had to catch me as I passed camera range and nearly knocked an expensive light over. The bright light was all that was discernible.

Since the final chase scene of the film is supposed to harken back to the beginning with the feeling of a predestined repetition, Stefan Arngrim was also in makeup and costume as the second incarnation of Lucifer. His chase scene with Julie and Mrs. Buchanan is shot for shot identical with Bonnomo’s chase by Father Damon before the opening titles. He ran through the corridor, chased by the ladies, and then I ran through chased by the priest, from the same camera angles.

Because of problems moving the generator and camera equipment around on the island, my second makeup had to be shot in sequence, although the hairline had previously been shaved back. Therefore I had to glue crepe hair in to match my own, as my character is revealed as Rossario Bonnamo, whom nobody in town suspected of being Lucifer except Father Damon and his sister Margaret (the incarnation of St. Michael). I command the golden staff of St. Michael to fly out of Damon’s hand, saying, “I will be re-born. Aiwasz!” (Aiwasz is a Satanic word calling on the powers of the Unholy Trinity). In this way, Lucifer defeats Rafael by outliving him through his next incarnation. Damon (Rafael) is accused of murdering Bonnamo and dies in the insane asylum, leaving Margaret (Michael) to hunt out Lucifer’s next incarnation (Andrew Williams) and join with the yet unborn angel Gabriel (Julie) to defeat him in the film’s final confrontation. John Egget rigged up a two-part duplicate cross which appeared to enter my heart and come out my back into the tree. We used Hershey’s syrup for my black blood. Fortunately for the cast and crew, the weather suddenly warmed up and shooting continued in a comfortable climate.

The shot of the three angels ascending into Heaven was shot during this warm snap. Here lights were hoisted high into the treetops, and in order to make the beam of light distinct to the camera lens, the smoke machine was used liberally. Cheri dusted a gold glitter into all the make ups as the actors are transformed by “The Rapture” promised in the Bible. Spectacular optical effects were added later to complete the images, shot on separate strips of film for each angel, to be composited as the three bodies become one in a whirling vortex of twinkles.

Then we were ready for the final revelation of “star student” Andrew, a pale and beautiful high school lad, into the inhuman and repulsive Lucifer, the Beast who was chased from Heaven by the Archangel Michael. The pre-made foam rubber face and ear prosthetics were only part of the full-body work that took 5 hours to apply, in Stefan’s motel room. Open sores, purple and yellow patches, and hair travelling from the inverted cross in the palm of the hand to the armpit, and from the ankles up the legs to join with the pubic hair revealed by the Black Mass robes were glued in place. All of the crepe hair had to be sprayed with Krylon acrylic to keep the wind from blowing it loose. False black fingernails were glued on, and then we were ferried over in a motor boat to the castle. It wasn’t hard for Kathleen Rowe McAllen as Julie to act repulsed by this being with three points on each ear, glowing eyes and fangs. Yet through all this makeup, the human part of Andrew still loves pretty Julie, and, hesitating to destroy her as he had destroyed Mrs. Buchanan, (portrayed by Elizabeth Hoffman) he gives her a few seconds in which to find the strength to take the golden staff and defy his power, shouting, “He is the Light!”

After a few pick-up shots left over from previous scenes, the crew packed up the equipment and left the castle in a pouring rain. We returned to Rochester for one last scene at the home of one of our investors, which was used as Julie’s house for the “seduction” scene and the scene where Julie’s boyfriend Mark (Paul Haber) proposes. Exhausted but fulfilled this crew of people from all parts of the country hugged their goodbyes and returned home to await the release of the picture. Frank La Loggia and the editors placed the newly developed film together in New York City.

After several months of negotiations, Frank and Charles La Loggia signed the distribution agreement with Avco Embassy Pictures. At this point only a “rough cut” of the picture existed, with gaps in sound effects and no music, titles or special effects. Working with executives from Avco, Frank finalized the order of the scenes and got the picture into its final number of seconds for music timing. Gifted with music as well as producing, writing and directing skills, La Loggia “scored his own film with a 33 piece orchestra under Avco’s post-production budget. The melodies are lovely and yet haunting, perfectly conveying the moods of the characters.

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Fear No Evil’s soundtrack featured many punk and new wave bands from the late 1970s and early 1980s.

“Hey Joe” performed by Patti Smith

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“Somebody’s Gonna Get Their Head Kicked In Tonight” performed by The Rezillos

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“Blitzkrieg Bop” performed by the Ramones

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“Psycho Killer” performed by Talking Heads

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“Love Goes to a Building on Fire” performed by Talking Heads

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“Delicious Gone Wrong” performed by Bim

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“I Don’t Like Mondays” performed by The Boomtown Rats

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“Lava” performed by The B-52’s

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“Blank Generation” performed by Richard Hell

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“Anarchy in the UK” performed by the Sex Pistols

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Source Material

Cinefantastique v10 n03 Fangoria 11

Fear No Evil (1981) Retrospective PLOT A Roman Catholic priest, Father Damon, murders a man outside a castle-like estate on an island in upstate New York.

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abbeysnysemester-blog · 5 years

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Galleries Of Week 2

Jeanne Silverthorne - Marc Straus (floor 4)

Jeanne Silverthorne’s exhibition was held on the fourth floor of the Marc Straus Gallery. Although it had the smallest room to encapsulate, it was the most sculptural, and the most visually impactful. When you first walk into the room, there is a large chandelier hanging around a foot off of the floor, the chandelier is black and covered in an archival-esque material that makes the surface look almost chalky and waxy at the same time. Cords erupt from the chandelier and sprawl across the ground and wall, connecting to other cords in a snakelike embrace. The all-black cord gathering trails up to an iconic EXIT sign, one would see at perhaps a movie theater. The sign is also covered in the same black material as the chandelier, and the red glow of the letters becomes more sinister in this context. Across from the exit sign, there is a book on display that looks similar to a diary, and has words sprawled out that are quite challenging to read. I overall enjoyed this exhibition and was intrigued by the processes that were evident on all of the pieces, and was intrigued by the use of the cords as a joining material to connect each piece spacially.

Chris Jones - (2nd and 3rd floors)

The pieces in Chris Jone’s exhibition reminded me very strongly of a pop-up children book, with 3D cut-outs in paper, and backgrounds emphasized and shapes coming to the forefront. Those I was at the gallery with seemed very interested in these works, however I saw them in a more kitsch light. I thought that they were interesting craftsmanship-wise, but wasn't able to really see an entry point to discuss them or think about them on a further level than that. With some added mechanics like a moving coffee cup I just did not feel specifically drawn to these pieces for anything other than a nostalgic memory of the books it reminded me of.

Ulf Puder - (2nd floor)

Ulf Puder’s paintings were extremely visually interesting to me yet simple at the same time. Many of the paintings gave me a gloomy, apocalyptic feeling. Complete with broken down houses or a water level much higher than our current one, Puder’s paintings are definitely evocative of a time that could be to come in the future. I was especially impressed with Puder’s balance of both the realism of the landscapes and houses he provided, that were offset by shapes of gradients. The gradients in place of specific shapes, say a garage door for instance, add to the mystique of each painting. The gradients give a lot of the visual interest to me, and keep me questioning the intention behind the placement of each one, this is what I enjoyed so much about each painting, they all gave me a very specific feeling overall, but when I broke each aspect down more I was questioning as to why?

Zlatan Vehabovic - (first floor)

The exhibition on the first floor consisted of works by croatian artist Zlatan Vehabovic, who embarked on a five-week residency program to the Arctic Circle, extensively documented his trip, and then returned to his studio to create the paintings in this exhibition. At first glance, one may look at these works and see landscapes of the frozen tundra mixed in with some portraiture, however, when looking closer, you can see how each piece has specific fragments repeated time and time again, as if you are either looking through a kaleidoscope, or perhaps having double vision. These ‘shards’ that nestle themselves among the background of the paintings are sometimes less evident, as in the piece entitled, “Ursa Major,” (2018) in which is a portrait of a person hiking, and are sometimes more evident and almost collage-like, as shown in the piece, “Builder of Things,” (2018.) I overall was very interested in these paintings, and especially in the viewpoint of the artist of this specific landscape that is showcased in these works.

Rafael Rozendaal - Postmasters

Rozendaal’s show at Postmasters is at first, deceptively minimalistic. On the gallery wall’s hang squares of white steel sheets that have various shapes cut into each. These are pieces of their own, that can function as a drawing, a sculpture, a design, etc. They are considered “shadow objects,” by the artist, which I assumed would refer to the shapes cast by the thick steel onto the white of the space not cut out. The press release statement by the artist was probably the most interesting aspect to me, which spoke about how the artist is not a maker and doesn't ‘work with materials.” Which is quite an interesting statement for an artist to make! This intrigued me, along with the comment about how Rozendaal’s work is searching for the path to the fastest production - a computer design to a computer cutting out the shapes in the steel.

Borders - james cohan

Borders at James Cohan Gallery was a very interesting group show discussing borders as political, ideological, and formal. The show included works by many artists of all different disciplines, however a few specific pieces were very intriguing to me. The first piece was a brick wall structure made by Jorge Mendez Blake and was titled, “Amerika” (2019.) At first glance the wall looks like it is just that - a brick wall, but once you take a look at the gallery’s information sheet, it says that the wall is made of editions of Franz Kafka’s novel of the same title, “Amerika.” I found this to be very interesting, considering I had originally just assumed it was a brick wall and had admittedly somewhat overlooked the sculpture as I didn't see much to digest as a wall has been synonymous with America in the recent political climate. The next pieces that I was interested in were two video pieces, the first was entitled, “18 Days,” by XU ZHEN, which details a faux documentary invasion of Myanmar, Mongolia, and Russia using toy cars, and the second a video piece by Hiraki Sawa called, “Dwelling,” (2002,) which is of a airplane flying around the artist’s room showing the crossing of ‘borders’ related to the childlike and imaginary.

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iqvts · 5 years

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225 Two Cabins DRIVE, SILVERTHORNE, CO 80498 from iQ Visual Tours on Vimeo.

For more information: cbdistinctive.com/listing/213-103251/225-two-cabins-drive-silverthorne-co-80498

Looking for Sunshine? Views? South Facing? Aspen Trees & Meadow combo? This lot will feel amazing to you! The Raven Golf Course is the iconic feature of this neighborhood but there are many other perks - hiking below the magestic Gore Range, cross country skiing & snowshoe trails, abundant wildlife, bike path, shopping, dining, Blue River, adventure, serenity, theater & culture await you! Silverthorne is about to have a facelift that will create a new community vibe in Silverthorne! Come Indulge

Contact: Kerri Rougemont (970) 390-2793 [email protected]

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thotyssey · 6 years

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On Point With: Bubbles D’Boob

A veteran queen and a favorite entertainer in Fire Island, this Broadway enthusiast got her some Manhattan fans this year when her Showtunes Sundays became a popular Chelsea destination. But now that summer’s here, the show must go on! Bubbles D’Boob floats us through what to look forward to from DJ Michael Formika Jones and herself at the Pines Pavilion this season.

Thotyssey: Hi Bubbles! Are you in Fire Island right now?

Bubbles D’Boob: I am! And it’s a lovely day right now. I got out here May 4th, and this feels like the first real weekend.

It must be gorgeous there now! Do you live there the whole summer, or do you go back and forth to and from the city?

I actually spend the entire summer out here, from May to September. It’s easy to sublet my apartment in the city, so why not spend it in paradise?

You spent most of this year hosting a version of your signature weekly show, Showtune Sundays with DJ Formika at Rebar--as well as a Thursday night RuPaul’s Drag Race viewing party there with DJ Matty Glitterati. How did those gigs come to pass, and how did you enjoy working there?

I love working at Rebar! Formika and I have talked about doing our show in the city for a few years now, and it just happened to work out that Rebar was looking for new talent. We have both known [owner] Franco for a long time, so that was the foot in the door. Once they saw what I could do, they were all for letting me host All-Stars and Season 10 of Drag Race--so I brought in my good gal pal Matty Glitterati to help out.

Have you been able to watch Drag Race since you got to the Island?

No I haven’t been able to watch this past week! The only place that shows it out here is in the Grove, and I have to get in drag while it airs so I can do the door for the PLAY party in the Pines.

Do you think you’ll be back at Rebar in the fall?

I would love to go back after this summer and continue to do new shows there!

Where's your hometown, and what was your introduction to the performing arts?

I grew up in Silverthorne, Colorado, and as most young gay men I started in the theater as soon as I hit puberty. I stuck with it all the way through college, and got a performing arts degree from Colorado state university.

After I moved to New York and realized that being a theater professional wasn’t the life for me, I dabbled in drag just for fun. After my first summer working on Fire Island in 2005, I became friends with a new queen named Aurora. She had a show at Barracuda, and I ended up being her backup dancer as “Boobies the Queen” for a few months before she quit and I took over. I was too inexperienced to keep the gig on though, so that ended. It wasn’t until I had a share on Fire Island again that the opportunity struck to resurrect my drag persona as Bubbles D’Boob with Formika for showtunes.

How exactly did you and the legendary DJ Michael Formika Jones meet? Just from you being a regular at his gigs?

Yeah! I first met him when I moved to the city. He was still doing Opaline in the East Village, and I went every week. I loved that crazy New York moment!

So how did Bubbles evolve as a queen over time?

I feel like a queen starts with a set of raw materials, and as she does her shows or makeup over and over and over it is distilled and perfected. My first full summer doing Bubbles on the Island, I found out what works on my face by getting in drag 4 to 5 times a week. Then through having the freedom to try new things, like improv and mic work and hosting and performing, I learned where I excel. Through this, I learned that I’m really good at working an audience and giving people permission to have a great time.

That’s the most important skill to have in this biz! By the way, I see that you competed in the Miss Eastern Bloc pageant a few years ago, before Darren Dryden’s Eastern Bloc in the East Village became Club Cumming!

Lol! Miss Eastern Bloc was hilarious! I love Darren (the best smelling man alive), and was so happy to show up to that impromptu “pageant.” I love an excuse to be crass and slutty and loud.

What have been some huge changes in drag as a whole since you started? I guess there are probably 10 times as many queens, for one thing. I have seen so many cycles of queens in NYC. When I first was going out, it was all about Shasta Cola and Candis Cayne at Barracuda. Then it was a lull, and we had Bianca Del Rio and Shequida and the like take over.

Now that we have Drag Race exciting the general public--and making it known that drag can be an actual profession--we see so many new queens popping up. Some of them just want to be famous, but a fair amount have some talent that just makes my jaw drop. Like with any creative endeavor, it can be difficult to compare yourself to other people and want their level of success. You just have to keep the fact in your mind that you are unique in your own special way.

youtube

How would you describe Showtunes Sundays to the uninitiated, which is currently back as a fixture of the Pines Pavilion?

I describe Showtunes as a fully interactive experience. My hope is that every member of the audience will feel like a prepubescent youth dancing in their living room unabashedly to some musical theater song. Bubbles will break down your inhibitions and let you “be the show!”

Do you sing live during the show at all?

I don’t sing live in drag. Well, I will sing my heart out in the crowd for some songs at Showtunes, but it is not a performance... it’s just gay boy crooning.

What’s your favorite musical?

Now that is a hard question! Probably Into the Woods. I had the VHS of Joanna Gleason doing it, and I watched it so many times.

But there are so many shows new and old that are amazing. Then when you include all the movie clips and TV spots that we play, I end up running around saying “I love this song!” a ton.

What are you thoughts about this year’s Tony noms? Anything surprising or interesting?

I feel Broadway isn’t the place to take a risk these days. It’s cost so much to launch and maintain any sort of production, and the Tonys are about bringing attention to those projects.

What will win Best Musical?

It could be either Spongebob or Mean Girls--which is funny, because they are adaptations of other intellectual properties. We see the same thing in movies and TV: rarely anything original these days. “Oh, another reboot!”

What a shame it’s come to that!

Well okay, onto happier topics! Tell us about how the Thursday premiere of the new weekly party PLAY at the Pavilion went! DJ Greg Scarnici spins for that one.

Thursday is a fun warmup night for the Pines. Last year the BLOW party was cancelled in the Grove, and the promoter knows our entertainment director in the Pines--Joey Navedo--so we brought it over. It’s a sex show vibe, but we all know guys are a bit less inclined to act out in the Pines as they do in the Grove for some reason. So to help loosen them up I do #dickoutdrag while I’m doing the door. It makes it fun for me, and breaks down some of the walls. I feel the underwear party and Showtunes are the times people stop caring what other people think and give in. I want to foster that as much as I can.

Is #dickoutdrag self-explanatory?

Haha! Yup...mostly. It’s not just totally out, but sometimes I wear a sheer dress or spin around. Only on Fire Island!

Is the Invasion of the Pines fun when you're a resident performer there, or is it, like, kind of a nightmare?

It’s a marathon, and marks the high season. I will end up working 10-12 days straight. And on the actual 4th of July the place gets filled with messy people that aren’t beach regulars who’ve come to gawk. But at the same time, you have those moments of everyone letting loose and doing messy and amazing drag! Like everything, it’s a double edged sword.

Okay, do you have anything else you wanna mention?

I’m in the works to add another event in the Pines for Bubbles, but nothing concrete yet. And I’m really looking forward to after the summer, hitting the city with a bunch of new ideas if any bars need new programming.

The sky's the limit! In closing: for someone who's been in the scene so long, you look so damn young. What's you're secret? Are you a vampire?

Haha, thank you so much! Being 40 is a mind trip sometimes, ‘cause I feel so young. I think joy and happiness keeps you young. So I try to do that as much as I can.

And it's infectious!

That’s my mission! Spread it around like an epidemic.

Thank you, Bubbles!

Check Thotyssey’s calendar for Bubbles D’Boob’s scheduled appearances, and follow her on Facebook and Instagram.

On Point Arcives

#onpointwith #bubblesdboob

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decadentwinnerdefendor-blog · 6 years

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Costume Shop Manager

Kevin Carson

kevin(at)lakedillontheatre(dot)org

(970) 513-1151

460 Blue River Parkway

Silverthorne, CO 80498

Costume Shop Manager

Posted: 02/08/2018 14:02:00 EST

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INTERNSHIP | Theme Park / Cruise Ship

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April 2018 - November 2018

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Dorney Park is seeking Stage Managers, Technicians and Crew to install and run our 2018 Summer shows. We are also looking for Techs who would be available to staff our 2018 Haunt Season. Dorney Park is a small amusement park located about an hour and a half from NYC in Allentown, PA. .

Jonathan Fehnel

entertainment(at)dorneypark(dot)com

(610) 391-7730

3830 Dorney Park Road

Allentown, PA 18104

Electrician, Light Board Operator, Follow Spot Operator, Master Electrician, Carpenter, Stage Manager, Wardrobe Crew, Costume Stitcher, Sound Operator, Sound Engineer, Stagehand, Scenic Artist

Posted: 02/08/2018 13:44:04 EST

Trackback: http://offstagejobs.com/jobdetail.php?jobID=41978

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Wig/Make-up Supervisor (Late May – Early October)

Reports to the Costume Shop Manager (CSM) and Production Manager (PM)

Production Manager

http://www.fingerlakesmtf.com

17 William St. 2nd Floor

Auburn, NY 13021

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Last Updated: 12/02/2017 11:01 EST

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Corporate / Trade Show

Reports to the Head of Wardrobe (HOD) and the Assistant Head of Wardrobe (AHOD)

+#61548; Maintain a “Teamwork Attitude” within the Wigs/Makeup Department Organization. Oversee the Standard Operational Procedures and Policies with the Wigs/Makeup Technicians and the Makeup Specialist Technician.

Valentina Kwan

recruit(at)dragone(dot)com

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Baia de Nossa Senhora de Esperanca Estrada da Cotai

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Bristol Valley Theater, a summer theatre in central New York, is seeking a costume/wardrobe intern for its 2017 summer season. Shows include Little Shop of Horrors, Chappati, Spider's Web, Drowsy Chaperone, Montgomery (world premiere), and Fully Committed. Housing provided. Driver's license with excellent record required. Own car desirable but not required. .

Karin Bowersock

kbowersock(at)bvtnaples(dot)org

(585) 374-9032

Business Address

117 S. Main St. 2nd Floor

Naples, NY 14512

Wardrobe Supervisor, Costume Stitcher, Assistant Costume Designer

Posted: 02/08/2018 00:00:00 EST

Trackback: http://offstagejobs.com/jobdetail.php?jobID=2087

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Wardrobe Supervisor needed for 2 Operas and some short operatic scenes going up in rep in a renowned theatre @ W4th St, August 6th-26th.

Karen Rich

email(at)dellarteopera(dot)org

(646) 796-3492

255 Cabrini Boulevard #5H

New York, NY 10040

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$100 per show $18 per hour thereafter biweekly

Seeking an experienced wardrobe associate/dresser/costume builder needed for show nights at The Speakeasy in San Francisco. Specific duties include: Maintaining costumes, keeping laundry schedule, quick changes, quick fixes, costume builds, etc. The ideal candidate will have experience working in a fast paced, sometimes high stress environment with a variety of personalities and working in tight quarters. .

Jackee Princeau

wardrobe(at)thespeakeasysf(dot)com

(408) 476-6319

644 Broadway Ave unit 10

San Francisco, CA 94133

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$1100 stipend flat fee

Big Deal Productions is looking for a Costume Designer to design, create + coordinate costumes for approximately 45 children for our upcoming children's theater production of Annie, Jr. in Buffalo Grove. Performances are scheduled for the weekend of May 4-6, 2018. The company has a large costume stock that can be pulled from. .

Lindsay Grandt

lindsay(at)bgparks(dot)org

Fax: (847) 459-5741

530 Bernard Drive

Buffalo Grove, IL 60089

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Lyric Theatre of Oklahoma is now seeking applicants for technical positions to join us for our 2018 Summer Season at Oklahoma City’s Civic Center Music Hall. Season consists of DISNEY’S FREAKY FRIDAY, HELLO DOLLY!, and MAMMA MIA. Applicants for all positions should submit resume, three references, and cover letters to [email protected] and include the job title in the email subject line.

Andrew Brown

production(at)lyrictheatreokc(dot)com

(405) 524-9310

1727 NW 16th Street

Oklahoma City, OK 73106

Wig Run Crew, Wardrobe Crew, Costume Stitcher, Sound Engineer, Mic Runner, Properties Carpenter, Properties Assistant, Stagehand, Carpenter, Light Board Operator, Follow Spot Operator, Electrician

Posted: 02/07/2018 12:30:00 EST

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Searching for a Wig + Makeup Designer for Sheridan College's production of "Steel Magnolias". We can provide pay and housing from March 5 - April 17, 2018. Performance dates are April 12, 13, 14, and 15.

Dannylee Hodnett

dhodnett(at)sheridan(dot)edu

Business Address

3059 Coffeen Ave.

Sheridan, WY 82801

Wig Designer, Makeup Crew

Posted: 02/06/2018 16:53:36 EST

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$2,000 and Housing Provided flat fee

Seeking a Costume Designer for Sheridan College's production of "Steel Magnolias". We can provide pay and housing from March 5-April 17, 2018. Performance dates are April 12, 13, 14, and 15.

Dannylee Hodnett

dhodnett(at)sheridan(dot)edu

Business Address

3059 Coffeen Ave.

Sheridan, WY 82801

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EDUCATION | Production House

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Based on Experience

Oddfellows Playhouse in Middletown, CT is seeking a Costume Designer for their upcoming production of Twelfth Night.

Chris Coffey

chris(at)oddfellows(dot)org

(860) 347-6143

128 Washington St

Middletown, CT 06457

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Depends on Position Contact for Details

SCS seasonally hires all technical, front of house, and box office staff. We look for technical personnel with experience in the following areas: carpentry, electrics, props, costumes (stitchers, crafts, draper, wigs), wardrobe, run crew, and production assistants. Front of house staff includes box office manager, box office staff (phone and window ticket sales), house managers, concessionaires, and parking attendants. .

Hal Day

jobs(at)santacruzshakespeare(dot)org

Business Address

500 Chestnut St. 250 Ste

SANTA CRUZ, CA 95060

Box Office Assistant, Stage Manager, Assistant Stage Manager, Wig Run Crew, Wig Designer, Wardrobe Supervisor, Wardrobe Crew, Draper, Costume Stitcher, Assistant Costume Designer, Sound Operator, Sound Engineer, Properties Master, Properties Carpenter, Properties Assistant, Master Carpenter, Carpenter, Master Electrician, Electrician

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