A couple months ago, SolArts, the art and performance space located along Central between Downtown and the University, expanded its operations by opening a new theater thrift store. The organizers opened the store partly because they needed a place to store their largish collection of theatrical costumes. As a way to help generate funds, the organizers intend to place as many costumes as possible from SolArts productions in the store following the run of the show. Right now, they mainly have women's attire, much of it vintage, but they also have wigs, feather boas, gloves, books, some freaky props and other theatrical accessories. Weird and wacky stuff, and none of it is priced over $15. They've also got a rack of rentals with each costume costing only $10 per night. For details, call SolArts at 244-0049, or stop by on Friday and Saturday afternoons. SolArts is located at 712 Central SE, one block west of I-25.
Boys and girls both play with dolls, but boys rarely admit it. In the world of little boys, dolls aren't dolls anyway. They're action figures. If you squeeze G.I. Joe, he won't ask you to feed him or change his diapers, but he might very well tell you he's going to blow your head off with his machine gun.
I saw a lot of fantastic shows at this year's Revolutions International Theatre Festival, but the best of the lot, in my opinion, was Splinters, a brilliant theatrical metaphor for the conflict between religion and science created by the Tricklock Company's Kevin R. Elder and Summer Olsson. Elder is back with a new one-man show called Tangential that's directed by Olsson. I'm willing to bet the farm that this one will kick your butt. The show opens this Friday, March 18, with a special catered gala at 8 p.m. at the Tricklock Performance Space (112 Washington SE). $18. Tangential then runs Fridays and Saturdays at 8 p.m., and Sundays at 6 p.m. through April 10. $12 general, $9 students/seniors. 254-8393.
Although it's deeply unfortunate that this production won't feature a topless Uma Thurman, Les Liaisons Dangeureses should be a rollicking good show nonetheless. Directed by Jessica Osbourne, this local production of Christopher Hampton's play about the dark arts of seduction should appeal to fans of the award-winning movie. This staging boasts lavish period costumes, a suspiciously phallic set and a cast of notable local performers. Les Liaisons Dangeureses runs through April 10 at the Vortex Theatre (2004 1/2 Central SE). Fridays and Saturdays at 8 p.m. Sundays at 6 p.m. 247-8600.
The first thing you should know is that our very own homegrown partners in comedy Mark Chavez and Shenoah Allen no longer call their act Sabotage. They're now called the Pajama Men. The second thing you should know is that, after years of touring to critical acclaim, Albuquerque's favorite idiot twins have been picked up by the Second City, the goofball granddaddy of American comedy institutions. The third thing you should know is that the Pajama Men will be performing a new sketch show called Stop Not Going at the Q-Staff Theatre (4819 Central NE) starting this weekend. The show will run Fridays and Saturdays at 9 p.m. through April 9. $15 general, $12 students. They'll also be doing a fully improvised show called Dirty Thursdays on, yes, Thursdays at 9 p.m. through April 14. $9. You will be amused. 255-2182.
Margaret Carlson brings a whole new meaning to the term fabric art. Her astonishing construction, Husht Reverberations, is composed of over 10,000 yards of donated fabric, created with a lot of help from her friends. In its sheer mass alone, this is an impressive piece of work, and I'm told it's even more amazing in person. Carlson will exhibit this piece starting this week at Factory on 5th Art Space along with an undulating canvas work created by Christy Kay Lopez called The Observer Effect. The show opens Friday, March 25, with a reception from 7 to 11 p.m. Runs through April 25. For details, call 259-9029 or 255-3331.
It's hard to talk about Jimmy Santiago Baca without repeating the well-worn tale of how he became a poet. It's a familiar story, but a great one, the kind of story that never gets tiresome no matter how many times you hear it. After all, Baca's biography has several elements every fine tale should have—a troubled past, a tragic mistake and, most important of all, an intoxicating conclusion combining redemption and grace.