They’re creepy and they’re kooky, mysterious and spooky,” and they’re coming to Costa Mesa Playhouse!
Yes, it’s the Tony-nominate musical “The Addams Family,” opening on Halloween weekend beginning on October 28 and running through November 20, 2016.
This delightfully ghoulish and magnificently macabre musical features classic characters created by cartoonist Charles Addams, with music and lyrics by Andrew Lippa and a book by Marshall Brickman and Rick Elise.
It’s a time of crisis for the Addams family. Gomez and Morticia’s daughter, Wednesday, is growing up. She’s now 18-years-old and has fallen in love with a “normal” boy, and has invited him and his parents over for dinner. In one fateful, hilarious night, secrets are disclosed, relationships are tested, and the Addams family must face up to the one horrible thing they’ve managed to avoid for generations — change.
Performances are Fridays and Saturdays at 8 pm and Sundays at 2 p.m.
Tickets are $20 general admission and $18 for students and seniors. Discounts available for groups of 10 or more. The first Friday preview performance, October 28, is $18 for all seats. Gala Night performance on Saturday, October 29 is $22 for general admission, and $20 for students and seniors and includes a post-show Halloween party.
Modern Disco Ambassadors presents WAVS with Wuki at The Wayfarer in Costa Mesa, Calif. Guests 21+ will enjoy dancing to renowned artists in intimate venue housing less than 300 in capacity.
Check out the talent: https://soundcloud.com/iamwuki
Get your tickets before they sell out at www.followmda.com.
MDA Contact Info: Lana@shoutpr.com
Website/Purchase Tickets: www.followmda.com
Venue Opens: Doors 9 p.m.
Venue Contact Info: The Wayfarer: 843 W. 19th St., Costa Mesa, CA 92627
Venue Phone Number: (949) 764-0039
Venue Website: http://www.wayfarercm.com/
Wuki is the genre-blending solo project of Denver-based producer Kris Barman. Influenced by the sounds of Detroit ghettotech and Chicago footwork scenes, Barman’s ability to seamlessly mix booty, breaks, electro, and house into hard-hitting club-shakers has become a trademark of the Wuki sound. The Mile High City resident has earned releases and remixes for notable imprints such as OWSLA, Main Course, Fool’s Gold, and Ultra – not to mention support from the likes of Knife Party, Skrillex, and Rolling Stone Magazine.
Grow out your mullet or tease your hair. Work on your moonwalk. Get your dancing shoes on. Practice your beanbag toss while wearing a wig. Come enjoy a night of live music, dancing, food, drinks, games and good times. See old friends, meet new ones, suport St. Joachim School!!!
Everyone’s favorite 90’s cover band. We play all the favorites, and you will most likely love us.
It is a time of crisis for the delightfully ghoulish family created by cartoonist Charles Addams. Gomez and Morticia’s daughter Wednesday is growing up. Now eighteen, she has fallen in love with a “normal” boy, and to make matters worse, has invited him and his parents over for dinner. In one fateful, hilarious night, secrets are disclosed, relationships are tested, and the Addams family must confront the one horrible thing they’ve managed to avoid for generations — change.
Upstream will be back @ the Black Knight in March. In full effect! Ready to get our wine on,yes yes yes. And you know we gonna have some fun!
with Sinclair, The Young Wild It began as an experiment. Music had always been the focus of my short, 17yearold, guitarplaying life in Austin, Texas. I was obsessed with The Beatles, Hendrix, Sinatra, and Sam Cooke. The Blues were my foundation. I hung with a crowd of young musicians who shared my love of the classics. We listened to vinyl. We played in bands. My safe, little vintagerock world was turned on its head when underground hiphop came knocking at my door. Rappers wanted me to sing hooks on their songs. I never in a million years thought what I did made sense in hiphop. Eminem and Outkast had blown my mind as a kid, but it was still an alien world to me. As uncomfortable as it was, I jumped in. At first, my bluesy singing made the hooks come across as a sort of blue-eyed soul thing. I didnt identify with that. The hooks I loved most had been sampled from old records. They contrasted the beat in a cool way. They felt distorted and fuzzy and their juxtaposition with modern music had an accidental magic. The experiment was to see if I could convince people that my hook was a sample. I sang more laid back, more like a crooner than a hardattacking soul singer. I distorted my voice with guitar amps and heavy reverbs that created a huge space. The summer I turned 19 I made this slow beat and wrote a hook over it called Nice and Slow. I used my sampled vocal approach and started sending the song around and playing it for people. The response was always, Whoa! Where did you sample this from? At that moment, my sound was born. By the spring, my songs were gaining some attention. Nice and Slow and White Lies charted on Hype Machine and a few months later I signed with Atlantic Records. A major-label deal marked a serious second chapter in my creative life. Songs were no longer practice swings. They counted. There were real stakes now. But with a new opportunity in front of me, I dove in head first. I now had access to collaborators and studios that enabled me to indulge in new sounds. Though I remained a producer on all the tracks and played 90 percent of the instruments, the songs were elevated thanks to the input of the brilliant writers and producers I met guys like Benny Blanco, Nick Ruth, and Franc Tetaz. What began as an experiment in a basement lab blossomed into a larger-scale process, resulting in the songs on my new EP, Intoxication.Sonically, I was inspired by artists like Amy Winehouse and Raphael Saadiq, who breathed fresh life into the classic 60s soul sound. Their vintage songs have a modern edge to the production. My process is the reverse. I try to write songs that, if played on an acoustic guitar, are very modern. But my execution of the singing, instrumentation, and production is vintage.Lyrically, the songs on Intoxication personify love, money, and death as a drug, reflecting the way my submission to imagination has consumed me like a chemical. My experiment became an abstract mind state that I want the listener to visit.