36 Tinker Street
RAMP ROMP: A MUSICAL EVENING FOR A WHEELCHAIR RAMP AT THE BYRDCLIFFE THEATER
When Byrdcliffe’s historic buildings were constructed from 1902-1903, founders Ralph and Jane Whitehead were thinking about spaces where artists could work in quiet solitude surrounded by mountain views: accessibility for people with disabilities was not, at the time, an acknowledged necessity. As the Woodstock Byrdcliffe Guild (WBG) works toward the goal of making all of its spaces accessible, the Byrdcliffe Theater on Upper Byrdcliffe Road, used by regional theater groups throughout much of the year, is a major priority. Ramp Romp is an evening of music and comedy featuring Gilles Malkine and Mikhail Horowitz, Sandy Bell, and Paul McMahon. Proceeds from Ramp Romp will go towards building a wheelchair ramp at the Theater. WBG has also recently received a $50,000 grant from the Pollock-Krasner Foundation to create greater accessibility for artist residents with disabilities.
Concert Date and Time: Saturday, May 12, 2018, 8:00 pm; doors open at 7:30 pm
Location: BYRDCLIFFE Kleinert/James Center for the Arts, 36 Tinker Street, Woodstock, NY
Tickets: $30 general admission or $27 for Byrdcliffe members; $45 VIP seats (first 2 rows); group discount: $23 per person if you buy 4 tickets or more – buy your tickets online now!
Sandy Bell is a songwriter, singer and musician who lives in Woodstock, NY. She has played most notably with musical sensation Jeff Buckley and contributed background vocals on the locally recorded Bat for Lashes album. A 2016 review by Alex Green referred to Bell’s album When I Leave Ohio as “beautiful, resonant work that’s stark and painful, oddly comforting and deeply, deeply sad. Sandy Bell’s songs have such poetic precision and crushing emotional exactitude, her work is nothing short of staggering.”
Mikhail Horowitz & Gilles Malkine, a performance duo whose partnership spans nearly 30 years, specialize in music, poetry, comedy, parody, satire, songs, and theatrical skits. Horowitz and Malkine have recorded three albums and a DVD, Too Small to Fail, and have appeared on a dozen anthology CDs. Their hundreds of gigs include appearances at the Bumbershoot Festival (Seattle), Clearwater’s Great Hudson River Revival Festival, and Robert Bly’s Great Mother Festival; they also say they’ve performed at “scads of colleges and universities, clubs, conferences, New Age funny farms, orthodox Jewish rodeos, Irish-Bengali wakes, and burials at sea.”
Paul McMahon is a visual artist, musician, and truth-seeker whose “non-career,” as he calls it, was recently described by ARTnews as bearing “traces of West Coast conceptualism, Pictures Generation image play, and the 1970s DIY New York music scene—all moments that McMahon has been a part of—while mischievously resisting any single, simple label.” He started playing banjo at the age of 12; by 15, he was taking guitar lessons from Elvin Bishop who played with blues harmonica master and Woodstock legend Paul Butterfield. A formative relationship with poet and cultural theorist Stanley Crouch at Pomona College in the 1970s was instrumental in McMahon’s cathartic switch from the electric blues to conceptual art. Later he transitioned back into music without leaving the other arts during the punk rock days. He has created nearly 10 albums of original songs and was included in a 2009 exhibition, The Pictures Generation, at the Metropolitan Museum of Art, who acquired two of his written on postcard collages. His most recent album, Hymn to Her, is an improvisational demonstration of McMahon as a true lyricist and philosopher whose role as “Rock and Roll Therapist” has earned him a major regional following.