Tarantino in Concert

Fans of movie director Quentin Tarantino are getting the chance to see his films in an entirely new way.

Reservoir Dogs, Pulp Fiction, and Kill Bill Volumes One and Two are some of his films that are being brought to life in a concert setting.

For The Record: Tarantino In Concert is Wednesday at 8 p.m. at the Long Center for the Performing Arts. Ticket prices range from $24 to $49.

Tuesday, March 13 2012, 05:58 PM CDT

Click this link to watch the video interview via KEYE TV We Are Austin.

For The Record: Tarantino

 

Because the “Royale with Cheese” monologue isn’t as tasty the 10th time around, cut the fatty dialogue and check out the Texas premiere of For The Record: Tarantino, featuring reenactments of famous QT scenes and the tunes that made them that way, performed by an LA troupe known for song-and-dance tributes to directors like the Coen Bros and John Hughes — who even the simplest minds will never forget. The 27 selections include songs for:

People Who Swear They’re Only Having One Drink Then Leaving
Neil Diamond, “Girl, You’ll Be A Woman Soon”
This Pulp scene marks the first and last time anyone OD’d to The Diamond.

The Hard of Earing
Stealers Wheel, “Stuck in the Middle With You”
Trying not to dance to this is torture.

The Handful Of People That Liked Jackie Brown
Bobby Womack, “Across 110th St”
You didn’t even have to get past the opening credits to hear this track.

Those Who’ve Memorized “Stopping By The Woods On A Snowy Evening”
The Coasters, “Down in Mexico”
In case you missed Death Proof, Vanessa Ferlito’s ass has a starring role!

Those Not Too Attached To Their Family’s Historic Movie Theater
David Bowie, “Cat People (Putting Out Fire)”
If Quentin can go back to the ’40s and kill Hitler, he can go back to the ’80s and steal from Cat People, a movie that minds of all intelligence levels were forced to forget, due to the incest, and the Ed Begley, Jr.

 

Via Thrillist.

Hooked on a feeling: For the Record: Tarantino in Concert celebrates the uncanny genius of the director’s soundtracks

Die-hard fans of filmmaker Quentin Tarantino know the dedication the geek autuer puts into choosing the epic soundtracks for his films.

Think of the songs you remember from classic Tarantino scenese like Dusty Springfield’s “Son of a Preacher Man” in Pulp Fiction and everything from the 5,6,7,8’s in Kill Bill, Part 1. From classic oldies to moody sleeper tracks, Tarantino is a master at establishing mood and tone in his films through his brilliant application of just the right tracks.

A touring concert of live music, live performance and film sequences gathers these indelible musical achievements into a whirlwind production called For the Record: Tarantino in Concert. This is the fourth in a series of director-inspired soundtrack musicals by Los Angles based company, Show At Barre. (The other directorial insprations being The Coen Brothers, John Hughes and Baz Luhrmann.) Their latest soundtrack reinterpretation makes its world premiere at The Long Center during SXSW.

The show is not an official SXSW event, says Show At Barre Artistic Director Shane Scheel, but it is appropriate that the show happens during this week considering its seemless integration of music and film. More engaging than just film, more visual than just music — For the Record reimagines the two elements in a completely unexpected way.

“SXSW just celebrated its 25th year, and Tarantino has been making movies for just as long. So it’s actually a perfect blend of all the elements involved,” Scheel adds.

While the filmmaker will most likely not be in attendance, his influence and artistry will be in grand display throughout the show. Live musicians will play the famous scores from his span of movies starting with Reservoir Dogs and ending with Inglorious Basterds while performers like Death Proof‘s Tracy Thoms will provide the vocals and choreography.

“We have such an amazing talent pool in our company now,” Scheel explains. “We’ve got people who have been on American Idol and Bravo’s Platinum Hit, others who have been on TV and film. It’s a very diverse group that has come together to form this family, which is really unique in L.A. because the city can feel very isolating and competitive. We’re really proud of that.”

Fans of Tarantino’s work, (which by now is really anyone who loves classic storytelling and doesn’t mind seeing excessive violence), will thrill at seeing the creative reinterpretations of these memorable songs presented in a brand new format.

Animated scenes, choreographed numbers and original filmed footage will transform the scenes and songs you’re familiar with. “It is definitely not a Broadway revue,” clarifies Scheel. “We don’t want anyone to confuse it as that.”

Scheel and his Show At Barre co-creator Christopher Bratten are both huge Tarantino fans and actually originated the idea of the directorial dedication show with his music in mind. Years later, after producing three other such shows with Show at Barre, they’re excited to present For the Record on a larger stage and scale than ever before.

“We started doing these shows one night a week at the bar I run in East Hollywood,” recalls Scheel,” and then we grew into doing it six nights a week. So people have definitely responded; they get it. So now we’re taking it way outside of the bar to explore what its life can be outside of the club and out of L.A. It’s a difference of about 2,200 seats between the club and the Long Center.”

The million dollar question is: Has Tarantino seen the show?

“Yeah, he’s seen it and he loves it. He drank me under the table after the show,” laughs Scheel. “We talked a long time afteward about the choices we made. Some of the lesser-known tracks, he even forgot about, so that was cool. So, yes, he knows we’re doing it and he has the invitation. But I believe he’s filming in Louisiana right now.”

Louisiana isn’t too far away from Austin, so who knows…?

For the Record: Tarantino in Concert premieres at The Long Center Mar 14 at 8 p.m. Tickets are available at the Long Center website.

Via Culture Map Austin.

Raising the Barre

Ginifer King in Tarantino in Concert (© Lily Lim)

Anyone who has encountered Show At Barre‘s For The Record series — which takes afamous film director’s repertoire and melds selections from the movies’ soundtracks and snippets from his films in a cohesive manner — knows something rare is being achieved.

And while the company continues to thrill Los Angeles audiences with it’s For The Record: Baz Lurhmann show, which continues it’s run at it’s home on 1714 N. Vermont Avenue through the end of the month, along with performances on March 28 and 29 at the Ace Hotel and Swim Club in Palm Springs.

But Show at Barre has bigger plans on it’s horizons. On March 14, it will perform For The Record -Tarantino in Concert at the 2,300 seat Long Center for the Performing Arts in Austin, Texas as part of the South by Southwest (SXSW) Festival, with a cast including Tracie Thoms, Annelies van der Pol, Ginifer King, Darryl Semira, and Von Smith.

Meanwhile, it’s breakout hit For The Record: John Hughes, which featured TV and Broadway star Barrett Foa, is looking for a New York City venue; and in May, the Los Angeles show will move to a much larger space at Vermont, with shows planned to salute Martin Scorsese, Paul Thomas Anderson, Tim Burton, and Cameron Crowe.

The entire enterprise began when artistic director Shane Scheel and music supervisor Christopher Lloyd Bratten, who worked together on L.A.’s Upright Cabaret, were offered a residency at Vermont. “The owners wanted to create a show that used the same artists,” says Scheel. “And we wanted to go in a different direction from what did before. We thought ‘What if we cover a great album?’ which we took to ‘What about a soundtrack?’ And then Tarantino came up because of Pulp Fiction and his other movies.”

We always want to make sure we’re paying homage to works but we don’t want to imitate or parody,” says Bratten. “A show like the Baz Luhrman one writes itself, since his movies are essentially musical. The format and artistic element is obvious. But when we decided to do the Coen Brothers, we had to ask ‘What’s the overarching theme? How do we put these disparate elements into one show?’ It was interesting to see how these pieces fit together. Part of the show’s purpose is to educate audiences of the repertoire of the artists. They know the directors, they know the songs, but they don’t always put them together.”

With the location in the heart of Hollywood, the company has gotten positive reactions from celebrities, particularly the directors they’ve honored. “Baz’s reaction was caught on tape. It can be found on YouTube telling how much he loved the show,” Scheel says. “Tarantino showed up unannounced, took pictures, and did tequilla shots with us till 4am.”

“That was the night I feel like we were making some sort of waves,” says Bratten. “These directors have great taste in music and how it informs their films. They enjoy their own material examined in a way they haven’t seen before. When you watch a film, a soundtrack supports a film. What we do, is to have the film support the soundtrack. The soundtrack becomes the main event. The film snippets are nostalgia.”

The Austin performance will be very different than the one seen in Los Angeles, says Scheel. “We’re going to enhance what we usually do with video. It will still be an immersive experience, just amplified. We’ve been given a gift and have to figure out how to paint these pictures and tell this story and turn it on its ear.”

Von Smith in Tarantino in Concert (© Joanne DeCaro)

Many of the show’s cast members are looking forward to working in a much larger venue than Vermont, although they’ve grown to love the intimacy of the 100-seat venue.

“There’s a certain mark on everyone’s body you can reveal and you have the mark of Barre — a bruise on the upper thigh,” says Davis. “They are ugly purple and green, from running into every chair of the cramped space of the bar. There’s a lot of physical comedy that you can’t do in that space if you’re crammed between two audience members. It helps open up the door of creativity. And because the response of the audience is so immediate that if it’s an off-night, it’s obvious. That’s good feedback.”

“It’s not normal to be six inches from the audience or to be dancing on a bar,” says Semira. “At first, I had to focus on my performance, because you know someone’s going to spill a drink over here or someone is getting tipsy. You have to take it in and react to it. It’s a lot of fun once you take it in. Eventually, you find a relaxation in it. It brings the audience even closer because you’re on the same team with them. They feel they’re in safe hands that a performer can handle any unpredictability and respond and keep going.”

“Those mistakes, like someone having to go to the bathroom in the middle of a song, instead of ignoring it, I take it as a gift and include it in my performance,” says King. But with each production we learn just a little more what this is and what it’s evolving into. Shane and Chris get a clearer, concise way to tie the songs together. All the fat has been cut so you’re getting an exciting non-stop experience. And then you want to go home and watch the movie.”

Click here for more information and For The Record-Baz Luhrmann tickets.

Click here for more information and For the Record-Tarantino In Concert tickets.

Via Theater Mania.

Pulp Conviction in Austin Monthly

Music’s importance in film cannot be underestimated, and no Hollywood director knows this better than Quentin Tarantino, whose movies are famous for using music to set the tone of a scene. For the Record: Tarantino in Concert celebrates this and the director’s career through live-cast performances of songs featured in his movies. From Reservoir Dogs to Inglourious Basterds, the 90-minute show features 26 songs in all, including “Stuck in the Middle with You”, “Satisfied Mind” and “You Never Can Tell”, the song Uma Thurman and John Travolta twisted to in Pulp Fiction. Originally performed at a small venue in Los Angeles, the show has been expanded to include large video screens, bigger sets and lighting designed by Emmy Award winner Travis Hagenbuch. And while the cast, which includes Tracie Thoms from Death Proof, acts out scenes from the movies, don’t expect dinner theater (although there will be waitresses serving cocktails). “At the heart of this is a concert,” says co-creator Shane Scheel. “It’s not Pulp Fiction: The Musical”. Now don’t forget ot tip the waitress on your way out. The Long Center for Performing Arts, 701 W. Riverside Drive, 44-5664, thelongcenter.org – SARAH THURMOND