SitaAlexandra Mesmerizes the Crowd at Wales Festival, Ready to Rock the 2024 Festival Season
In a whirlwind of ethereal melodies and magnetic stage presence, SitaAlexandra left an indelible mark on the recent festival scene in Wales. With her captivating performance, she cast a spell on the audience, igniting anticipation for her upcoming appearances in the festival circuit of 2024.
The Wales festival, known for its diverse lineup and enthusiastic attendees, provided the perfect backdrop for SitaAlexandra's musical prowess. Adorned in her signature bohemian attire, she took the stage amidst a hushed anticipation that soon erupted into thunderous applause.
SitaAlexandra's performance was an amalgamation of soul-stirring vocals, intricate instrumental melodies, and an aura that seemed to transcend the stage. Her versatile voice effortlessly navigated through haunting ballads, upbeat anthems, and emotionally charged tunes, leaving the audience spellbound and yearning for more.
Her setlist was an eclectic fusion of her original compositions and reimagined classics, showcasing her musical range and depth. From the hauntingly beautiful "Whispers in the Wind" to the upbeat rhythm of "Wildfire Hearts," each song was a testament to her artistry and storytelling ability.
Beyond her musical talent, SitaAlexandra's connection with the audience was palpable. Her genuine interactions and moments of vulnerability between songs created an intimate atmosphere, fostering a sense of unity among the festival-goers. It was evident that she wasn't merely performing for the crowd but sharing a piece of her soul through her music.
The stage lights danced to the rhythm of her melodies, enhancing the mystical ambiance she effortlessly created. Her band, a group of seasoned musicians, complemented her performance with their seamless synchronization and passion for the craft.
As the final notes echoed through the festival grounds, the crowd erupted into a chorus of cheers and applause, unwilling to let the magic dissipate. SitaAlexandra gracefully bid adieu, leaving an undeniable imprint on the memories of those fortunate enough to witness her performance.
With the Wales festival as a testament to her artistic brilliance, SitaAlexandra stands poised and ready to embark on the festival season of 2024. Her enigmatic presence, coupled with her undeniable talent, promises to captivate audiences around the world.
In anticipation of what lies ahead, fans eagerly await her upcoming performances, ready to immerse themselves once again in the enchanting world of SitaAlexandra's music. As the festival season approaches, one thing remains certain – SitaAlexandra is primed to leave an indelible mark on the hearts of music lovers worldwide.
Cirque du Soleil, 1860s Midwestern Style by Ronald S. Coddington
Via Flickr:
Carte de visite by A.R. Gould of Carrollton, Ohio. Large posters plastered along a thoroughfare in Carrollton, Ohio, tease the arrival of Stow’s Great Varieties, a unique traveling show that performed in several Midwestern states in the 1860s. Reports collected from Newspapers.com list these dates and locations:
July 1864: Grand Haven, Mich.
August 1866: Plymouth, Ind.
August 1867: McArthur, Jackson, and Hillsboro, Ohio
September 1867: Lancaster and Upper Sandusky, Ohio
May 1868: Plymouth, Ind.
The use of colorful advertisements appears to be a regular feature of Stow’s Varieties. “Immense and splendid posters on the public square announce the coming of a novel exhibition,” noted Ohio’s Lancaster Gazette on Sept. 5, 1867 of a forthcoming September 14 event.
“Novel exhibition” is one of several references to the show. “Old circuses will not be rehearsed, but a new style of performance, different than anything ever before the public,” noted one newspaper. Another observed, “It is not a circus, but offers an entertainment more varied, unique and attractive than any circus, as a reference to the programmes so liberally scattered in our community will satisfy the most skeptical.”
In essence, the show combined aerobatic and acrobatic troupe performances by gymnasts, including tightrope walking, dancing in costumes, and original music. Seems to be an 1860s Midwestern version of Cirque du Soleil.
Newspapers gave the show very positive reviews. One named the owner as John Stow.
I encourage you to use this image for educational purposes only. However, please ask for permission.
Breakfast in Bed is a play in three acts by Georges Feydeau adapted by Willard Mack and Howard Booth from Feydeau’s French play Occupe-toi d’Amelie. It was originally produced by A.H. Woods starring Florence Moore.
A young man is compelled to leave town and turn his fiancée over to the care of his best friend. An uncle of the best friend sends word that he has decided to bestow fortune on the nephew, providing the nephew is a happily married man. To get the fortune, the nephew convinces the girl to pose as his fiancée. She agrees but is surprised by the unexpected return of her true fiancée. Catching them in a compromising situation, the fiancée compels them to marry.
Breakfast in Bed had its world premiere at the Globe Theatre on the Boardwalk in Atlantic City NJ on August 11, 1919.
From the Globe, the play moved to Boston’s Plymouth Theatre where it stayed for 5 months! In December it moved to Poli’s Theatre in Meridan CT.
“To invalids and some other persons breakfast in bed is a great treat. Perhaps it was for this reason that the farce presented at Poli’s last evening before a crowded house was so labeled. It might have been called ‘Under the Bed’ or ‘Over the Footstool’ with equal property.” ~ MERIDAN RECORD-JOURNAL
In January 1920 the play started honing in on serving Breakfast on Broadway, with an engagement in Philadelphia at the Adelphi. “The funniest girl in the world” stayed in Philadelphia with “the funniest farce in the world” until the end of January. This was Moore’s hometown, so they took particular pride in her success.
To give the cast a night of rest, the Broadway opening was postponed from Monday to Tuesday. Hopefully, Moore enjoyed breakfast in bed on Monday.
Breakfast in Bed opened on Broadway at Eltinge’s 42nd Street Theatre on February 3, 1920 and played 75 performances. It closed April 25, 1920.
In 1952, the story came back to Broadway at the Ziegfeld for four performances in the original French. Madeleine Renaud played Amelie.
In 1959, Noël Coward adapted the play as Look After Lulu with Tammy Grimes as Lulu (formerly Amelie). Cyril Ritchard directed and Cecil Beaton did the costumes. It played 39 performances at the Henry Miller’s Theatre (now the Stephen Sondheim).
In May 1920, newspapers reported that Moore had signed with Metro to repeat her role on film. The film never happened, but there were several films of the original source material. In 1912 there had been a French silent short, which was followed by an Italian silent film in 1925.
France remade the film in 1932 and 1949 (above). In the mid-60′s, Yugoslavia and Sweden made television movies of the original play.
In the first English-language screen version of the French play, Judi Dench played Amelie on English television in 1973.
In 1983, Italy remade the story with Barbara Bouchet as Amelie. In 1984, Spain did a three episode miniseries of the play with Gloria Rondriguez as Amelie.
Florence Moore returned to Atlantic City in 1927′s Artitsts and Models and 1930′s Meet Lady Clara. On Atlantic City cinema screens, she was seen in 1929′s Apartment Hunting at the Virginia Theatre on the Boardwalk, just a short walk from the Globe, where she had Breakfast in Bed in 1919.
[ID: A newspaper clipping which reads as follows: "A brave woman is Mrs. W.H. Hyde, of Des Moines, Iowa. In the middle of the night, her husband away, she was awakened from a sound sleep by a noise at one of the windows of her room. She got up and in the moonlight could see a man trying to cut away the shutters of the blind. Immediately she went to look for a hatchet, but could find none, and obtained instead two beer bottles, one of which was full of beer. On reaching her room again she found the man in the act of climbing into the window. With the empty bottle she struck him on the head--but not hard enough to prevent him from renewing the effort to enter. A second blow followed with the other and heavier bottle. By a greater force it descended upon his head, so that he was glad to use all his hands and legs in a hasty retreat down the ladder. In the morning blood stains which he had made were found on the ladder and on the grass."]
19-year-old Margaret Martin from Luzerne County, Pennsylvania, was known as a shy but friendly girl that had many friends. “I liked to dance, but she never went to dances. She was very popular, very studious,” her friend Betty Hopkins fondly recalled.
Martin graduated from Kingston High School in 1937 and took a couple of classes at Wilkes-Barre Business College to gain secretarial skills. She graduated with honors.
On Saturday the 17th of December, 1938, a neighbor who took phone calls for the Martin family informed Martin that a man had called with a job offer for her. The anonymous caller said that he was new in town and was setting up an insurance agency and was looking for a secretary. It was just 17 days after her graduation and she assumed that Wilkes-Barre Business College must have recommended her to this potential employer. A chuffed Martin took the phone call and arranged to meet the anonymous caller at Kingston Corners, just a short distance from her family home on Covert Street.
The last time Martin was seen alive was when a man who lived in an apartment at Kingston Corners spotted her climbing into a brown Plymouth. The man who was driving the car was said to be between 25 and 30-years-old and was slightly overweight.
When Martin didn’t arrive home, police were contacted and a search was launched.
Due to a six-month strike at the local newspapers, her disappearance wasn’t well publicised but there were a few articles detailing her disappearance. An “Evening Star” article noted that police were checking into the possibility that she had been lured away by a man who was running a “white slave ring.”
On the 21st of December, 1938, 19-year-old muskrat hunter, Anthony Rezykowski, made a gruesome discovery as he was laying traps alongside the icy cold water of Keelersburg Creek in Northmoreland Township, Wyoming County. As he approached a disused bridge, he spotted a burlap sack bobbing up and down with the flow of the water. Protruding from the burlap sack was a human hand.
The search was over: it was Margret Martin and she had been viciously abused.