Media Archive

The newly formed American Modern Opera Company, AMOC, won’t ever be a typical opera company. No home. No subscribers. No overhead. Just artists. Artists looking for a way to capture their own voice, and do it authentically, with adequate preparation, and—perhaps most importantly—in collaboration, with a fluid notion of art forms and their intersection.

The newly formed American Modern Opera Company, AMOC, won’t ever be a typical opera company. No home. No subscribers. No overhead. Just artists. Artists looking for a way to capture their own voice, and do it authentically, with adequate preparation, and—perhaps most importantly—in collaboration, with a fluid notion of art forms and their intersection.

The newly formed American Modern Opera Company, AMOC, won’t ever be a typical opera company. No home. No subscribers. No overhead. Just artists. Artists looking for a way to capture their own voice, and do it authentically, with adequate preparation, and—perhaps most importantly—in collaboration, with a fluid notion of art forms and their intersection.

[Walter Sickert’s] sprawling eight-piece band incorporates a host of influences, and descriptions of its style tend to include fistfuls of hyphens.

Staged as a “farewell concert,” Latin Standards uses [Gomez’s father’s] radio hits as a frame for Gomez to interweave her childhood memories with scenes from a comedy night she produced at the now-shuttered San Francisco Latino drag club Esta Noche.

Latin Standards, Marga Gomez’s bittersweet and sharply written one-woman show, manages to touch on most of the things that shaped and influenced the veteran comedian and performance artist.

The vibrant performer Marga Gomez pays loving, funny tribute to her father, a comic performer and songwriter named Willy Chevalier (the Chevalier was a bit of invention), in her latest solo show, Latin Standards, being presented through Sunday as part of the Under the Radar festival.

Ask Roxbury-bred rapper Moe Pope about his latest record sounding overtly political, and he tells a story about looking down the business end of a gun the day before his eldest daughter was born.