Collection | Page 37

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The Revolution Will Be Harmonized: Social Protest in Song

Songs have been used as a form of social and political protest since the country’s founding.

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A (Selected) Timeline of Hip-Hop and Hype Men

From The Last Poets to “When the Revolution Comes” to Cardi B’s “Bodak Yellow.”

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The Conjurors’ Club Creators on The Lunch Room

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Hype Man Trailer

Original Stage Production Director and Co-Film Director Shawn LaCount prepares for capture of Kadahj Bennett (Verb) from one of the Director’s stations as Stage Manager Cesara Walters holds the clapboard.

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The Making of Company One’s Hype Man

Jeanette Andrews performs in 'The Conjurors' Club' at American Repertory Theater - courtesy A.R.T.

Review - The Conjurors’ Club

Cape Cod Times

A different kind of fun, sparkle, and intimacy.

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Geoff Kanick performs in 'The Conjurors' Club' at American Repertory Theater - courtesy A.R.T.

Review - The Conjurors’ Club

Broadway World

Astonishing! Call me amazed.

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Ran'D Shine performs in 'The Conjurors' Club' at American Repertory Theater - courtesy A.R.T.

Review - The Conjurors’ Club

The Theater Mirror

The Conjurors’ Club delivers in spades. While very few theater offerings on Zoom have created that vital bond between performer and audience, the magicians–by virtue of having audience members directly or indirectly participate in their various tricks–does just that.

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Eric Jones performs in 'The Conjurors' Club' at American Repertory Theater - courtesy A.R.T.

Review - The Conjurors’ Club

GBH

Fascinating! Immediately you’re drawn into the world.

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The Many Histories of Magic

The history of magic is full of revelations, reversals, and enduring mysteries. The Conjurors’ Club celebrates and expands this legacy.

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Nate Dendy (Ariel), Tom Nelis (Prospero), Charlotte Graham (Miranda).

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The Many Histories of Magic (gallery)

Press - The Boston Globe

Bringing magic and illusion into your home, ‘secret package’ and all

In fashioning their live, interactive, online magic show, “The Conjurors’ Club,” creators Vinny DePonto and Geoff Kanick wanted to foster the up-close intimacy and tactile connectivity of pre-pandemic, in-person theater.

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