In the wake of Hurricane Sandy in the Northeast corridor of the U.S., there was more than enough reason to rally in support of our friends who were hit hard. When we heard that The Ali Forney Center, a homeless shleter for LGBT youth in New York City was closed down as a result of the hurricane, we flew into action.
With the help of the extraordinary Justin Vivian Bond we quickly put together a plan to raise funds and awareness of the problems facing the Center. Joe's Pub agreed to allow us an evening and offered 100% of the ticket sales to our cause. Justin enrolled some of Manhattan's most dynamic performers and within 48 hours we had sold out every seat in the house.
In addition to the ticket sales, checks came in from all over the country including very generous gifts from Broadway Cares Equity Fights Aids and The Colin Higgins Foundation.
All in all we raised over $20,000 for The Ali Forney Center. I couldn't be more thrilled that this effort actually worked and that The After The Storm Foundation once again found a way to be of service.
I've copied the link to The Ali Forney Center below. They've been doing amazing work publishing the stories of local LGBT youth as the season progresses.
http://www.aliforneycenter.org/index.cfm?fuseaction=cms.page&id=1015
Also, see below for a great review of the event by the amazingly talented spoken word poet, Sean Patrick Mulroy. He sums it up perfectly.
And if you feel moved to contribute to the cause you can always send a check to
AFTER THE STORM
P.O. 1640
Eagle, ID 83616
Thanks for your support,
James
--> FROM SEAN PATRICK MULROY:
Sunday’s benefit for the
Ali Forney Center at Joe's Pub was more than a great show for a good cause;
thanks
to the
brilliant line-up put together by Justin Vivian Bond and James Lecesne, the
show was a tour-de-force, a reminder of what queer performance art should be
all about. Host and show opener Justin Vivian Bond took the stage
promptly at 7:00, with the understated elegance and onstage poise that has made
v a household name. Throughout the night as Bond was put on the spot by
the increasingly provocative performers it became clear that it is actually
impossible to catch Bond flatfooted—v’s response to any situation is immediate
and witty.
As the rest
of the line-up hit the stage following a new song by Bond, each of the night’s
line-up brought something new to the stage. Dan Fishback’s presence on stage is
marvelously unselfconscious; he doesn’t get in the way of his art.
Fishback and a trio of singers performed sensitive harmonies so flawless,
it was impossible to pick out a single voice. Australian singer and
songwriter Brett Every played a similarly tender piece on the piano with an old
time troubadour’s grace. Gracious collaborator and lovably
self-deprecating Matt Ray’s familiarity with multiple instruments made the
musical complexities seem effortless (Ray’s turn in the spotlight came later
but was well worth the wait). Another constant collaborator, Nath Ann
Carrera, in a crown of white feathers, created quite a stir along with singer
and amazon Amber Martin performing as instructors at a camp for witches,
breaking into an appropriately chosen and performatively bad-ass bit rock and
roll ferocity. Nobody in attendance will be able to forget Martin’s
righteous vocals, wild woman stare, and menacing scimitar.
Speaking of
wild women, if Salome’s dance of 7 veils was worthy of praise, perhaps worthier
still is powerhouse Bridgett Everett’s decision to wear just one; her
table-dancing rendition of Miley Cyrus’ “The Climb,” in a scrap of red fabric
brought a delightful dash of raunchy revolutionary to the first portion of the
evening, and later when Taylor Mac emerged, wearing the same teensy frock, it
served as the perfect introduction to Mac’s disarming sense of humor as he
corralled the audience to join him in a tongue-in-cheek nod to the holiday
season. If Everett and Mac brought the house down, and Lady Rizo blew
away what was left with her sparkling poise and oh-my-god-is-this-for-real
vocal pyrotechnics. Joseph Keckler bait-and-switched the crowd with a
droll introduction to his unbelievable operatics. His song for the Opera
Pirate was equal parts poignant and hilarious and showed a deep understanding
of opera as a form which is rare in a cabaret setting. Cole Escola’s
fast and furious cover of The Crystals (and Robert Frost!) was exhilarating and
unique, break-neck, and unforgettable. Quinn Cox’s rendition of Randy Newman’s
“I Think It’s Going to Rain Today,” was also a stand-out, a tender
unpretentious soliloquy that made it seem like the song had been written for
Cox to sing.
Closing the
show was a surprise addition to the lineup was Christeene Vale whose act, a
mesmerizing combination of flirty backwoods gangbanger and campy murder victim
chic, has given the singer enviable street cred and renown. A group
encore brought the cast to stage for a Sinead O’Connor sing-along by turns as
vibrant, playful, and riveting as the entire evening had been. The audience
leaped to their feet in applause for an amazing collection of performances, a
smashing success for an incredibly important cause. If you missed the
show and still would like to contribute funds to the Ali Forney center, you can
find more information at:
http://www.aliforneycenter.org/index.cfm?fuseaction=cms.page&id=1101
http://www.aliforneycenter.org/index.cfm?fuseaction=cms.page&id=1101