Showing posts with label Jane Pickens Theatre. Show all posts
Showing posts with label Jane Pickens Theatre. Show all posts

Monday, October 26, 2026

No, Neil Hamilton is not in this film: Murnau's 'Faust' (1926) on Tuesday, Oct. 27 opens Halloween home stretch of silent film screenings

A trade journal ad promoting F.W. Murnau's 'Faust' (1926).

I need to be more careful in introducing silent film programs. 

On Sunday, Oct. 25, prior to a screening of 'The Bat' (1926), I expounded on the many connections that the Batman franchise has with the silent film era.

As an example, I cited actor Neil Hamilton, a popular silent-era leading man who many years later played Commissioner Gordon on the 1960s Batman TV series.

I even used my patented laugh-getting line: "Seeing Neil Hamilton as a silent film star, it's like seeing Commissioner Gordon's high school yearbook picture come to life." 

However, Neil Hamilton wasn't in 'The Bat.' But my remarks prompted at least a few audience members to spend the whole screening looking for him. Oops!

Well, looking ahead. After a one-night layoff, I'm back on the road this week for the home stretch of Halloween screenings: six screenings in five day across three states. 

First up: a 100th anniversary screening of F.W. Murnau's 'Faust' (1926) on Tuesday, Oct. 27 at the Jane Pickens Theatre in Newport, R.I. Despite the centennial, it's the only screening of 'Faust' I'm accompanying this year.

Lots more info about the screening and the film in the press release pasted in below. And no, Neil Hamilton does NOT appear in this film.

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Emil Jannings stars as you-know-who in 'Faust' (1926).

MONDAY, OCT. 19, 2026 / FOR IMMEDIATE RELEASE
Contact Jeff Rapsis • (603) 236-9237 • jeffrapsis@gmail.com

Rarely shown 'Faust' adaptation on Tuesday, Oct. 27 at Newport's Jane Pickens Theatre

Just in time for Halloween! Silent film thriller starring Emil Jannings as devil to be shown on the big screen with live music

NEWPORT, R.I.—It's been a novel, a stage play, and an opera. When movies first appeared a century ago, it was only a matter of time before they tackled 'Faust,' the tale of a man who consigns his soul to the devil to obtain power in the present.

At the height of the silent era, German director F.W. Murnau created a cinematic version of 'Faust' filled with stunning images that maintain their power to astonish.

See for yourself with 'Faust' (1926), the original silent film adaptation of the classic legend, to be shown with live music on Tuesday, Oct. 27 at 7 p.m. at the Jane Pickens Theatre, 49 Touro St., Newport, R.I.

The 100th anniversary screening will feature live accompaniment by Jeff Rapsis, a New Hampshire-based composer who specializes in creating music for silent films.

Admission is $18; members $16. Tickets at the door; advance tickets are available online at janepickens.com. For more information, call the box office at (401) 846-5474.
 
A German poster promoting F.W. Murnau's 'Faust' (1926).

'Faust' is a 1926 silent film produced by German studio UFA, directed by F. W. Murnau, starring Gösta Ekman as Faust, Emil Jannings as Mephisto, and Camilla Horn as Gretchen.

As the film opens, the demon Mephisto has a bet with an Archangel that he can corrupt a righteous man's soul and destroy in him what is divine. If he succeeds, the Devil will win dominion over earth.

The Devil delivers a plague to the village where Faust, an elderly alchemist, lives. Though he prays to stop the death and starvation, nothing happens. Disheartened, Faust throws his alchemy books in the fire, and then the Bible too. One book opens, showing how to have power and glory by making a pact with the Devil.

Faust goes to a crossroads as described in the book and conjures up the forces of evil. When Mephisto appears, he induces Faust to make a trial, 24-hour bargain. Faust will have Mephisto's service till the sand runs out in an hourglass, at which time the Devil will rescind the pact.

The remainder of the film follows the grim consequences for everyone, all depicted with vivid visual imagination in the last film Murnau made in Germany before making the move to Hollywood.

'Faust' continues to impress modern critics, including Roger Ebert.

"Murnau had a bold visual imagination, distinctive even during the era of German Expressionism with its skewed perspectives and twisted rooms and stairs," Ebert wrote in 2005. " 'Faust,' with its supernatural vistas of heaven and hell, is particularly distinctive in the way it uses the whole canvas."

A scene from F.W. Murnau's 'Faust' (1926).

In screening F.W. Murnau's version of 'Faust,' the Jane Pickens Theatre aims to recreate all essential elements of silent film experience: high quality editions shown on a large screen, with live music and an audience.

"These films caused people to fall in love with the movies for a very good reason," said Jeff Rapsis, who will improvise a musical score during the screening. "They were unique experiences, and if you can recreate the conditions under which they were shown, they have a great deal of life in them.

"Though they're the ancestors of today's movies, silent film is a very different art form than what you see at the multiplex today, so it's worth checking out as something totally different," Rapsis said.

Rapsis performs on a digital synthesizer that reproduces the texture of the full orchestra and creates a traditional "movie score" sound.

F.W. Murnau's ‘Faust' will be shown with live music on Tuesday, Oct. 27 at 7 p.m. at the Jane Pickens Theatre, 49 Touro St., Newport, R.I.

The screening will feature live accompaniment by Jeff Rapsis, a New Hampshire-based composer who specializes in creating music for silent films.

Admission is $18; members $16. Tickets at the door; advance tickets are available online at janepickens.com. For more information, call the box office at (401) 846-5474.

Tuesday, May 26, 2026

Off to California for Harold Lloyd at the Niles Essanay Silent Film Museum, but first some thoughts about Keaton's 'The General'

Me outside the Jane Pickens Theatre, which always does amazing promotional posters. 

Last Thursday night, I had the honor of doing music for 'The General' (1926) for a very appreciative audience at the Jane Pickens Theatre in Newport, R.I.

In introducing the film, I tried a new way to explain what an innovator filmmaker Keaton was.

I asked everyone to look for a short sequence early in the film when Buster jumps on and starts riding one of those old-fashioned bicycles sometimes called 'penny-farthings'—the ones with one big wheel (which has the pedals) and a tiny trailing wheel.

Buster pedals for a short while, and finally falls off and down an embankment. It takes all of 10 seconds of screen time. Buster gets laughs for the sheer futility of his efforts.

But the startling thing about the sequence is the placement of the camera. Once Buster hops aboard the bike, the view switches so that Buster is followed from above as he struggles to maintain his balance over rough ground, and then finally tips over.

It could have been shot from ground level, which is is when Buster mounts the bike. But then the film switches to a tracking shot to follow him as he pedals and finally falls.

Why take the trouble to shoot from a high angle? Buster, I think, instinctively knew that the absurdity of the scene would be greatly magnified by how he's pedaling along the edge of a steep embankment.

And in order for that to work, an audience had to see the embankment. And the only way to do that was for the camera to be elevated high above Buster and to look down. 

To modern audiences, this seems perfectly natural—something you'd hardly notice. Every time we watch a movie, we benefit from more than a century of film-making technique. 

But if you look at a lot of silent films, you realize how rare and unusual this sort of camera placement is. Deep into the 1920s, directors were still prone to keep the camera on the ground, as if it was an audience member sitting in a seat at a stage play. Old theater habits died hard.

Buster, however, seemed to instinctively know that the camera had to be in a certain (and seemingly unnatural) place for the scene to work, and the flexibility of the motion picture allowed that.

No onlooker would have seen Buster on his bike from a high angle as he passed by. But Buster and his team seemed to understand the different possibilities offered by the movies, and made use of them when the scene called for it.

Here's the sequence from YouTube:

It's the same thing in another Keaton film, 'Our Hospitality' (1923), where scenes of Buster at the edge of a high waterfall are filmed from above, over the rushing waters (that can't have been easy) in order to show Buster's predicament.  

Buster shot from above (again) in 'Our Hospitality' (1923).

How did Buster know to do this? There was no film school. (Keaton, a child star in vaudeville, attended regular school for exactly one day.) It had to be an intuition about the possibilities of this new way of story-telling, and a willingness to experiment.

Not sure if any of this helped last Thursday's audience appreciate 'The General,' but the reaction was strong throughout. Very satisfying to see Buster's great achievement still provoke cheers as it approaches its 100th birthday.

Up next: I'm heading out to the Niles Essanay Silent Film Museum in Fremont, Calif. to accompany a program on Saturday, May 30 featuring Harold Lloyd's 'Grandma's Boy' (1922).

And then June brings a cluster of great programs, including the silent version of 'Beau Geste' (1926) in Wilton on Sunday, June 7 and a screening of a 35mm print of 'The Adventures of Prince Achmed' (1926) at the Somerville Theatre on Sunday, June 14.

See you at the movies! 

Sunday, January 25, 2026

Let's try that again! 'Annie Laurie' rescheduled to Sunday, Feb. 1, but first 'Metropolis on Thursday, Jan. 29 plus a few others as well

'Annie Laurie' (1927) will be screened on Sunday, Feb. 1 at 2 p.m. at the Town Hall Theatre in Wilton, N.H.

It really doesn't work without an audience.  

So today's snowstorm blew in earlier than expected, which led to not a single person showing up for our planned matinee screening of 'Annie Laurie' (1927) on Sunday, Jan. 25, with live music by me.

Although the show must go on, when no one shows due to snow, there's no show to show. 

So we've rescheduled 'Annie Laurie' for exactly one week later, on Sunday, Feb. 1 at 2 p.m. at the Town Hall Theatre, 40 Main St., Wilton, N.H.  

Join us then for a full dose of Lillian Gish surrounded by men in kilts!

With 'Annie Laurie' moved to next Sunday, I now have a block of four shows in a row to close out January.

• On Thursday, Jan. 29, a mid-winter screening of 'Metropolis' (1927) I'm accompanying at the Jane Pickens Theatre in Newport, R.I. is already selling a lot of tickets. 

• On Friday, Jan. 30, it's Buster Keaton's 'The General' (1926) in a 100th anniversary screening at the Epsilon Spires venue in Brattleboro, Vt. (I get to play their Estey organ to accompany.)

• On Saturday, Jan. 31, it's the annual 'Pot Luck Supper and Silent Movie Night' at the Campton Historical Society up in Campton, N.H., where this year's entertainment is the original silent film version of 'Peter Pan' (1924.)

• And then on Sunday, Feb. 1, we'll try our luck with 'Annie Laurie' again at the Town Hall Theatre in Wilton, N.H., and hope that this time Mother Nature approves.

For 'Metropolis,' the press release below has lot more info about the film and the screening. Hope you'll be able to join us in Newport on Thursday. And if I get there early enough, I invite me in the Boru Noodle House just down the street.

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Industrialist Joh Frederson (Alfred Abel) looks on as scientist Rotwang (Rudolf Klein-Rogge) outlines his vision for a human-like robot in 'Metropolis' (1927).

MONDAY, JAN. 12, 2026 / FOR IMMEDIATE RELEASE
Contact Jeff Rapsis • (603) 236-9237 • jeffrapsis@gmail.com

Restored classic sci-fi epic 'Metropolis' to screen in Newport, R. I. on Thursday, Jan. 29

Landmark early futuristic fantasy, with half-hour of rediscovered footage, to be shown with live music at Jane Pickens Theatre

NEWPORT, R.I.— A silent film hailed as the grandfather of all science fiction fantasy movies will soon return to the big screen at the Jane Pickens Theatre.

'Metropolis' (1927), an epic adventure set in a futuristic world, will be shown with live music on Thursday, Jan. 29 at 7 p.m. at the Jane Pickens Theatre, 49 Touro St. in historic downtown Newport.

The screening will feature live accompaniment by Jeff Rapsis, a New Hampshire-based composer who specializes in creating music for silent films.

Admission is $18 per person. Tickets available online at https://janepickens.com or at the door.

'Metropolis' (1927), regarded as German director Fritz Lang's masterpiece, is set in a society where a privileged elite pursue lives of leisure while the masses toil on vast machines and live in poverty.

The film, with its visions of futuristic factories and underground cities, set new standards for visual design and inspired generations of dystopian fantasies from Ridley Scott's 'Blade Runner' to Terry Gilliam's 'Brazil.'

An original poster for the German release of 'Metropolis' (1927).
 
In 'Metropolis,' the story centers on an upper class young man who falls in love with a woman who works with the poor. The tale encompasses mad scientists, human-like robots, underground spiritual movements, and industrial espionage, all set in a society divided between haves and have-nots.

The version of 'Metropolis' to be screened at the Jane Pickens Theatre is a newly restored edition that includes nearly a half-hour of missing footage cut following the film's premiere in 1927. The lost footage, discovered in 2008 in an archive in Argentina, has since been added to the existing 'Metropolis,' allowing plot threads and characters to be developed more fully.

When first screened in Berlin, Germany on Jan. 10, 1927, the sci-fi epic ran an estimated 153 minutes. After its premiere, the film's distributors (including Paramount in the U.S.) drastically shortened 'Metropolis' to maximize the film's commercial potential. By the time it debuted in the U.S. later that year, the film was only about 90 minutes long.

Even in its shortened form, 'Metropolis' became a cornerstone of science fiction cinema. Due to its enduring popularity, the film has undergone numerous restorations in the intervening decades in attempts to recover Lang's original vision.

Restoration work continues to this day. In 2008, the curator of the Buenos Aires Museo del Cine discovered a 16mm dupe negative of 'Metropolis' that was considerably longer than any existing print.

It  contained 25 minutes of "lost" footage, about a fifth of the film, that had not been seen since its Berlin debut.

The discovery of such a significant amount of material called for yet another restoration, a 2½-hour version that debuted in 2010 to widespread acclaim. It's this fully restored edition that will be screened at the Jane Pickens Theatre.
 
Wealthy heir Freder Frederson (Gustav Fröhlich) aids a collapsed worker in a scene from 'Metropolis' (1927).

" 'Metropolis' stands as an stunning example of the power of silent film to tell a compelling story without words, and reach across the generations to touch movie-goers from the real future, which means us," said accompanist Jeff Rapsis, who provides live music for silent film screenings throughout New England and beyond.

To accompany a silent film, Rapsis uses a digital synthesizer to recreate the texture of the full orchestra. The score is created live in real time as the movie is screened. Rather than focus exclusively on authentic music of the period, Rapsis creates new music for silent films that draws from movie scoring techniques that today's audiences expect from the cinema.

The restored 'Metropolis' will be shown with live music on Thursday, Jan. 29 at 7 p.m. at the Jane Pickens Theatre, 49 Touro St. in historic downtown Newport. 

Admission is $18 per person. Tickets available online at https://janepickens.com or at the door.

For more information on the music, visit www.jeffrapsis.com.

CRITIC'S COMMENTS on ‘METROPOLIS’

“'Metropolis' does what many great films do, creating a time, place and characters so striking that they become part of our arsenal of images for imagining the world.”
—Roger Ebert, 2010, The Chicago Sun-Times

“If it comes anywhere near your town, go see it and thank the movie Gods that it even exists. There’s no star rating high enough.”
—Brian Tallerico, Movieretriever.com
 

 

Monday, February 17, 2025

Next: Valentino in 'The Sheik' (1921) on Monday, March 3 in Greenfield, Mass.; notes from the 50th annual Boston Sci-Fi Marathon

Rudolph Valentino and Agnes Ayres in a scene from 'The Sheik' (1921).

Next local screening is Monday, March 3 at 6:30 p.m., when I'll accompany Rudolph Valentino in 'The Sheik' (1921) at the Garden Cinemas in Greenfield, Mass.

More about Rudy and the film in the press release pasted in below. 

First, a few notes from this past weekend.

On Saturday, I had the privilege of creating music for a screening of F.W. Murnau's 'Sunrise' (1927) at the Jane Pickens Theatre in Newport, R.I.

About 75 people showed up for this day-after-Valentine's Day screening, which was a surprisingly strong turnout given that a messy winter storm was in the process of arriving at show time.

For this, I got to tell my story of how a friend of mine came to a screening of this film, but thought he was seeing the futuristic fantasy 'Metropolis.' (1927).

Because 'Sunrise' starts out in a stylized urban setting that actually does look weirdly futuristic, and because all of silent film looks a bit alien to untrained eyes, I can see how this could happen.

Afterwards, his question to me was: "What kind of a futuristic amusement park has pigs sliding down a chute and getting drunk on wine?" 

Snow was falling by the time I headed back to New Hampshire. The drive usually takes two hours but thanks to the weather it was 3½ hours. Well, at least I got to hear a whole Boston Symphony concert live from Symphony Hall: Herbert Blomstet at age 97 conducting two symphonies: Schubert's No. 6 and the Brahms No. 1.

I wonder what either composer would have thought of someone listening to their music via an FM radio receiver while driving a motor vehicle at night through a snowstorm. It might have seemed like some kind of science fiction to them.

And that brings us to Sunday's performance: a live score for 'Algol: Tragedy of Power' (1920), a German sci-fi drama that was shown as part of this year's annual 24-hour Boston Science Fiction Marathon.

The Marathon, or 'Thon as some call it, will occasionally program a silent title, and for some time now it's been my privilege to be invited to accompany it.

It's quite a lively audience, with attendees shouting things at the screen and generally whooping it up. I had a great time mashing up some tunes to create a score to help bring the film to life. 

A few scenes from this year's Sci-Fi Marathon, which was the 50th annual edition.

Sci Fi Festival Director Garen Daly chats with someone via Facetime...

Lobby of the Somerville Theatre between screenings.

The view from the keyboard, or from one side of the keyboard, anyway.

Me in front of "Some" theatre...

I will say it's a special thrill to finish a film like 'Algol' and to have a theater just erupt, even if the people in it are there to make noise. 

I ran up on stage to take a bow or two, and then took the opportunity to shout back:

"I saw that yesterday there was a symposium to discuss whether or not the Boston Sci-Fi Marathon would ever get to its 100th anniversary," I said.

"I certainly hope so! Because this is a celebration that brings people together, and now more than ever we need things to bring us together. May this marathon live long and prosper!" Or something like that.

Okay, next week I'll be heading out to Topeka, Kansas for this year's Kansas Silent Film Festival (more on that when I get there), and after that it's Rudolph Valentino in 'The Sheik' at the Garden Cinemas in Greenfield, Mass. 

More about that in the press release below. See you there!

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Hey where's Rudy? An original poster for 'The Sheik' (1921).

MONDAY, FEB, 17, 2025 / FOR IMMEDIATE RELEASE
Contact Jeff Rapsis • (603) 236-9237 • jeffrapsis@gmail.com

Valentino in 'The Sheik' on Monday, March 3 at Garden Cinemas

Exotic romance starring iconic silent film actor to be show with live musical accompaniment

GREENFIELD, Mass.—He was the cinema’s first sex symbol, causing hordes of female moviegoers to flock to his pictures throughout the 1920s. He starred in films designed to show off his Latin looks, his smoldering eyes, and his dancer’s body.

He was Rudolph Valentino, who remains an icon for on-screen passion long after his untimely death in 1926 at age 31.

See the Hollywood legend for yourself when 'The Sheik' (1921) starring Rudolph Valentino is screened on Monday, March 3 at 6:30 p.m. at the Garden Cinemas, 361 Main St., Greenfield, Mass.

Admission is $10.50 adults, $8:50 for children, seniors, and students. Tickets are available online or at the door.

The screening, the latest in the Garden Cinemas' silent film series, will feature live accompaniment by Jeff Rapsis, a New Hampshire-based composer who specializes in creating scores for silent films. 

Rudolph Valentino in the title role of 'The Sheik' (1921).

In 'The Sheik,' Valentino plays Paris-educated Sheik Ahmed Ben Hassan, who arranges brides for wealthy Arabs. 

The high-spirited Lady Diana Mayo (Agnes Ayres), learning that the sheik will be in the city of Biskra, Algeria, playfully decides to disguise herself as a dancing girl to become one of the prospective brides. 

Hearing that Diana will be touring the Sahara Desert, Ahmed abducts her, intending to make her fall in love with him, with unexpected consequences.

An Italian immigrant who arrived penniless at Ellis Island in 1913, Valentino rose to superstar status in the silent era. But he was more than a pretty face—during his career, critics praised Valentino as a versatile actor capable of playing a variety of roles; his achievements included popularizing the Argentinian tango in the 1921 drama ‘Four Horsemen of the Apocalypse.’

But Valentino's brief stardom was defined by the ‘Sheik’ roles, which brought a new level of exotic sexuality to the movies, causing a sensation at the time. In theaters, women openly swooned over Valentino’s on-screen image, especially in roles such as the ‘Sheik,’ which featured elaborate costumes. 

At its peak, his popularity was so immense that it inspired a backlash among many male movie-goers, who decried Valentino’s elegant image and mannerisms as effeminate.

Valentino’s sudden death in 1926 fueled his status as a legendary romantic icon of the cinema. For years, a mysterious woman dressed in black would visit his grave at the Hollywood Park Cemetery in Los Angeles, leaving only a single red rose.

Valentino was aware of his effect on audiences, saying that “Women are not in love with me but with the picture of me on the screen. I am merely the canvas upon which the women paint their dreams.”

“These films are still exciting experiences if you can show them as they were designed to be screened,” said Rapsis, the accompanist for the screening. “There’s a reason people first fell in love with the movies, and we hope to recreate that spirit. At their best, silent films were communal experiences in which the presence of a large audience intensifies everyone’s reactions.”

Silent films with live music are screened at the Garden Cinemas the first Monday of each month. Upcoming titles include:

• Monday, April 7, 2025, 6:30 p.m.: "The Lost World" (1925) starring Wallace Beery. First-ever movie adaptation of Arthur Conan Doyle's legendary tale of British explorers who discover pre-historic creatures still thriving atop a remote South American plateau. Great entertainment; ground-breaking special effects by the same team that later created 'King Kong' mesmerized early movie audiences and remain impressive today.

‘The Sheik’ (1921) will be shown on Monday, March 3 at 6:30 p.m. at the Garden Cinemas, 361 Main St., Greenfield, Mass. Admission is $10.50 adults, $8:50 for children, seniors, and students. Tickets available at the door; advance tickets are available at www.gardencinemas.net. For more information, call the box office at (413) 774-4881.

Saturday, February 8, 2025

This weekend: 'Sunrise' in Newport on Saturday, then 'Algol' at 50th annual Boston Sci-Fi Marathon

Emil Jannings as would-be world ruler Robert Herne in 'Algol' (1920).

It's a rare chance to see 'Sunrise' (1927) in the late afternoon.

That's because I'll accompany the Academy Award-winning silent drama on Saturday, Feb. 15 at 4:30 p.m. at the Jane Pickens Theatre in downtown Newport, R.I. 

More info about the film and the screening is in the press release pasted in below.

And the next day brings one of my most unusual gigs: the annual Boston Sci Fi Marathon, which starts on Sunday, Feb. 16 at noon and runs straight through to Monday, Feb. 17 at noon.

I'll be there to accompany 'Algol: Tragedy of Power' (1920), a bizarre German film thought lost for decades until it was rediscovered in recent years and is now available for viewing.

'Algol' is being shown late Sunday afternoon: not sure of the exact time as that depends on how far behind (or ahead) the marathon is running. 

It's the 50th year of this event, which I've appeared at several times before and it's always a hoot. There's no better audience for silent film that a theater fill of insomniac sci-fi fans.

Alas, tickets aren't available for individual films during the marathon, which is a $100 all-or-nothing proposition. But the line-up includes LOTS of great titles, and there's nothing like seeing them in this kind of communal environment.

Interested? Below are links, although I notice the online ticket portal incorrectly says the marathon starts at Sunday, Feb. 16 at 7 p.m. It really starts at noon—and there's also a pre-show scene of people lining up in front of the Somerville before doors open to get first dibs on favorite seats.

Boston Sci-Fi Marathon line-up

Tickets for Boston Sci-Fi Marathon

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An original poster for 'Sunrise: A Song of Two Humans' (1927).
 
MONDAY, JAN. 20, 2025 / FOR IMMEDIATE RELEASE
Contact Jeff Rapsis • (603) 236-9237 • jeffrapsis@gmail.com

Academy Award-winning drama 'Sunrise' to screen on Saturday, Feb. 15 at Newport's Jane Pickens Theatre

Silent film won three honors at first-ever Academy Awards, including 'Best Actress' for Janet Gaynor; show features live musical accompaniment


NEWPORT, R.I.—Silent film on the big screen with live music returns to the Jane Pickens Theatre with the Academy Award-winning romantic drama 'Sunrise' (1927) on Saturday, Feb. 15 at 4:30 p.m.

The screening of 'Sunrise,' starring Janet Gaynor and George O'Brien, will take place at the Jane Pickens Film and Event Center, 49 Touro St. in historic downtown Newport.

Admission is $17 per person. Tickets available online at https://janepickens.com or at the door.

The screening will feature live music by Jeff Rapsis, the Jane Pickens Theatre's silent film accompanist.

Gaynor, a popular female star of the silent film era, won the first-ever Academy Award for Best Actress for her performance in 'Sunrise.' The movie took top honors in cinematography and was also recognized for "Unique and Artistic Production" at the inaugural awards.

'Sunrise' tells the story of a young country couple (played by Gaynor and O'Brien) whose marriage is threatened by the presence of a woman from the city (Margaret Livingston) who convinces the man to abandon his wife. Will the young husband go through with a plan to kill his wife? Will true love overcome the obstacles of temptation and the promise of short-term pleasure?

George O'Brien and Margaret Livingston in a scene from 'Sunrise' (1927).

'Sunrise' was directed by F. W. Murnau, a German filmmaker and one of the leading figures in German Expressionism, a style that uses distorted art design for symbolic effect. 'Sunrise' was made when Murnau was invited by studio chief William Fox to make a film in Hollywood.

The resulting movie features enormous stylized sets that create an exaggerated, fairy-tale world. The city street set alone reportedly cost over $200,000 to build, a huge sum at the time. Much of the exterior shooting was done at Lake Arrowhead, Calif.

Full of cinematic innovations, the groundbreaking cinematography (by Charles Rosher and Karl Struss) featured moving cameras and impressive tracking shots. Titles appear sparingly, with long sequences of pure action and most of the story told in Murnau's signature visual style. The extensive use of forced perspective is striking, particularly in a shot of the city with normal-sized people and sets in the foreground and smaller figures in the background by much smaller sets.

The story of 'Sunrise' is told as a visual allegory with few specific details. The characters have no names, and the setting is not named in order to make the tale more universal and symbolic.

Janet Gaynor and George O'Brien in a scene from 'Sunrise' (1927).

With a full title of 'Sunrise: A Song of Two Humans,' the film is regarded as one of the high points of the silent cinema. In 1988, it was selected for preservation in the National Film Registry of the U.S. Library of Congress for films that are "culturally, historically, or aesthetically significant." The Sight and Sound poll of 2012 for the British Film Institute named 'Sunrise' the fifth-best film in the history of motion pictures by critics, and 22nd by directors.

Critics continue to hail 'Sunrise' as one of the best films of all time.

"F.W. Murnau's 'Sunrise' conquered time and gravity with a freedom that was startling to its first audiences," wrote Roger Ebert in 2004. "To see it today is to be astonished by the boldness of its visual experimentation.

Rapsis, who uses original themes to improvise silent film scores, said great silent film dramas such as 'Sunrise' used their lack of dialogue to create stories that concentrated on the "big" emotions such as Love, Despair, Anger, and Joy. Because of this, audiences continue to respond to them in the 21st century, especially if they're presented as intended — with a live audience and live music.

"Dramas such as 'Sunrise' were created to be shown on the big screen as a communal experience," Rapsis said. "With an audience and live music, they come to life as their creators intended them to. So the screenings at Newport's Jane Pickens Theatre are a great chance to experience films that first caused people to fall in love with the movies," he said.

'Sunrise' will be shown with live music on Saturday, Feb. 15 at 4:30 p.m. at the Jane Pickens Film and Event Center, 49 Touro St. in historic downtown Newport.

Admission is $17 per person. Tickets available online at https://janepickens.com or at the door. 

 Janet Gaynor and George O'Brien in 'Sunrise' (1927).


Tuesday, October 29, 2024

Tonight! Live scoring for 'Dracula' (1931) at the Jane Pickens Theatre, Newport, R.I.

Bela Lugosi plays the title role in 'Dracula' (1931).
 
Live scoring—it's not just for silents anymore!

And that's what I'll be doing tonight in Newport, R.I., where the early talkie version of 'Dracula' (1931) starring Bela Lugosi will fly onto the screen at 7:30 p.m.

More info about the show and venue are in the press release below.

In the past few years, I've done a few live scores for early talkies: 'Dracula' and also 'Frankenstein' (1931) starring Boris Karloff. 

It's possible to do this because in the first few years of synchronized soundtracks, some studios didn't bother with recorded music.

Partly it  was function of economics: no music = no cost. 
 
I think it was also due to uncertainty on the part of some filmmakers and studios of how sound should be used: for dialogue, yes, of course. But background music?

Unless you could SEE the musicians on screen, where was it supposed to be coming from?
 
It was one of those things that took awhile to sort out—similar to the foreign language issue.
 
Now that films talked, what about different languages? 
 
For a time, studios made several versions of films, with the players repeating all dialogue in different tongues, with a pronunciation coach on set when needed and sometimes significant differences in supporting players, story, and so on.
 
Thus we have a German language version of Buster Keaton's early MGM talkie 'Free and Easy' (1930), with the formerly silent comic spouting dialogue in Deutsch.

Which brings us to the Spanish language version of 'Dracula,' filmed concurrently on the same sets with the English version but with a different director as well as a different actor, Carlos Villarius, in the title role!

Well, tonight in Newport, the language will be heavily accented English, with music from me. Details below!

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An original release poster for Bela Lugosi as 'Dracula' (1931).

MONDAY, OCT. 21, 2024 / FOR IMMEDIATE RELEASE
Contact Jeff Rapsis • (603) 236-9237 • jeffrapsis@gmail.com

Halloween special: Lugosi's 'Dracula' on big screen with new live score

Horror classic to be shown at the Jane Pickens Theatre on Tuesday, Oct. 29 for one screening only

NEWPORT, R.I. — Do you dare prepare for Halloween by braving 'Dracula' on the big screen?

That's the question at the Jane Pickens Theatre, 49 Touro St. in Newport, where the classic 1931 version of 'Dracula' will run for one showing only on Tuesday, Oct. 29.

Showtime is 7:30 p.m. Admission is $17 per person. Tickets available online at https://janepickens.com or at the door.

The screening will feature live music by Jeff Rapsis, the Jane Pickens Theatre's silent film accompanist.

Although 'Dracula' is a talking picture, it was released with virtually no musical score, a common practice during the transition period from silent to sound pictures.

Rapsis will perform original music live during the screening using a digital keyboard to recreate the texture of a full orchestra.

Directed by Tod Browning, 'Dracula' was a sensational box office success and has mesmerized movie audiences ever since with its eerie visuals and Lugosi's iconic performance.

The story opens in far-off Transylvania, where mysterious Count Dracula hypnotizes a British soldier, Renfield (Dwight Frye), into becoming his mindless slave.

Welcome to Transylvania!

Dracula then travels to England and takes up residence in an old castle. Soon the Count begins to wreak havoc, sucking the blood of young women and turning them into vampires.

When he sets his sights on Mina (Helen Chandler), the daughter of a prominent doctor, vampire-hunter Van Helsing (Edward Van Sloan) is enlisted to put a stop to Dracula's never-ending bloodlust.

The Halloween screening of 'Dracula' will include live music by Jeff Rapsis, a composer and performer who specializes in creating accompaniment for silent films.  

'Dracula' was released when Hollywood and movie theatres were still undergoing the transition from the silent era to pictures with synchronized sound and dialogue.

During the silent era, studios did not produce official scores for most films. Instead, accompaniment was left up to local musicians, and could vary greatly from one moviehouse to another.

When studios converted to talking pictures, the tradition of recording a musical score was not well established. In the case of 'Dracula,' Universal omitted music in part to save production costs.

As a result, after the opening credits, the 1931 'Dracula' contains no music except for a brief scene in an opera house.

In recent decades, composers have experimented with creating original music for the movie—most notably Philip Glass, who composed a score in 1998 for the Kronos string quartet.

Another spooky spectacular from director Tod Browning.

Rapsis sees 'Dracula' as closely linked to the silent-era tradition of films shown with live music.

"Tod Browning was a prolific director of silent films, including many thrillers that anticipate 'Dracula,' " Rapsis said. "So even though 'Dracula' is a talking picture, Browning's filmmaking style is strongly rooted in the silent era, when it was assumed that local musicians would be important collaborators in a picture's effect on an audience."

Unlike the Glass score, which plays almost continuously during the movie, Rapsis will use music only in certain places where he feels it will either enhance the mood, heighten tension, or signify a change in the emotional line of the story.

"Although 'Dracula' is not a silent film, there are definitely places where the silence speaks volumes and remains very effective," Rapsis said. "I hope to leave those intact, but enrich other parts of the film in the way that only music can."

Rapsis works largely by improvising as a film plays in the theater, in the tradition of theatre organists of the 1920s.

"There's something very special about the in-the-moment energy of a live improvised performance," Rapsis said. "It's never the same, and at its best it really can help a film connect with an audience and make the whole experience come together."

The original 'Dracula' (1931) starring Bela Lugosi will be shown with live music for one screening only on Tuesday, Oct. 29 at 7:30 p.m. at the Jane Pickens Theatre Film and Event Center, 49 Touro St., Newport, R.I. Admission is $17 per person. Tickets available online at https://janepickens.com or at the door. For more information, call the box office at (401) 846-5474.

Saturday, February 10, 2024

A weekend of 100th anniversaries with Buster Keaton in Newport, R.I. and Peter Pan in Somerville, Mass.

Buster Keaton cooks up some well-timed comedy in 'The Navigator' (1924).

Never mind the Superbowl—I'm attending a pair of 100th birthday parties this weekend!

This afternoon (Saturday, Feb. 10), it's Buster Keaton's 'The Navigator' (1924), which I'm accompanying at 4:30 p.m. at the Jane Pickens Theatre in Newport, R.I. More info in the press release pasted in below.

Then tomorrow (Sunday, Feb. 11), it's the original big screen adaptation of 'Peter Pan' (1924), for which I'll do music at 2 p.m. at the Somerville Theatre in Somerville, Mass. I've pasted that press release in below as well.

I think the Keaton screening is intended as a warm-up to Valentine's Day, while 'Peter Pan' is clearly family counterpoint to the Superbowl, which takes place later that day. 

Well, whatever reason works for you, hope you can join us and take in one or both screenings this week. Besides being the date of this year's Superbowl, Sunday also happens to be National Guitar Day and also National Autism Day. 

I don't know about you, but I can't think of better reasons to celebrate with a silent film screening!

See you at the movies!

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Dressed for diving: Buster Keaton in 'The Navigator' (1924).

MONDAY, JAN. 15, 2024 / FOR IMMEDIATE RELEASE
Contact Jeff Rapsis • (603) 236-9237 • jeffrapsis@gmail.com

Classic silent seafaring farce ‘The Navigator’ (1924) at Jane Pickens Theatre on Saturday, Feb. 10

Buster Keaton's nautical masterpiece to be screened with live music at historic venue in downtown Newport, R.I.

NEWPORT, R.I.—He never smiled on camera, earning him the nickname of "the Great Stone Face." But Buster Keaton's comedies rocked Hollywood's silent era with laughter throughout the 1920s.

Acclaimed for their originality and clever visual gags, and also admired for their authentic location shots and amazing stunts, Keaton's films remain popular crowd-pleasers today.

See for yourself with a screening of 'The Navigator' (1924), one of Keaton's landmark feature films, on Saturday, Feb. 10 at 4:30 p.m. at the Jane Pickens Theatre Film and Event Center, 49 Touro St., Newport, R.I.

The screening, the latest in the venue's silent film series, will feature live accompaniment by Jeff Rapsis, a New Hampshire-based composer who specializes in creating music for silent films.

Admission is $16 per person. Tickets available online at https://janepickens.com or at the door.

'The Navigator' is a comedy that follows the adventures of wealthy nitwit Rollo Treadway (Keaton) and his pampered girlfriend, who find themselves adrift alone on a massive ocean liner. Forced to fend for themselves without servants, the pair attempt to cope with day-to-day life, creating classic comedy in the process.

But when the ship runs aground on a remote island inhabited by cannibals, is Buster's resourcefulness enough to save the day?

Filmed at sea on a real ocean liner that Keaton treated as the largest prop in comedy history, 'The Navigator' has been hailed as one of the most original and distinctive movies to come out of silent film's golden era of comedy.

The film is highlighted by underwater scenes, with Keaton in an oversized antique diving suit, that were revolutionary at the time.

A remarkable pantomime artist, Keaton naturally used his whole body to communicate emotions from sadness to surprise. And in an era with no post-production special effects, Keaton's acrobatic talents enabled him to perform all his own stunts, including some spectacular examples in 'The Navigator.'

Rapsis, a New Hampshire-based silent film musician who accompanies shows at venues across New England, said Keaton's films weren't intended to be shown on television or viewed at home.

In reviving 'The Navigator' at the Jane Pickens Theatre, organizers aim to show silent film as it was meant to be seen—in high quality prints, on a large screen, with live music, and with an audience.

"All those elements are important parts of the silent film experience," said Rapsis. "Recreate those conditions, and classics of early Hollywood such as 'The Navigator' leap back to life in ways that audiences still find entertaining."

Rapsis performs on a digital synthesizer that reproduces the texture of the full orchestra, creating a traditional "movie score" sound. He improvises the complete score in real time during the screening

"Creating a movie score on the fly is kind of a high-wire act, but it can often make for more excitement than if everything is planned out in advance," Rapsis said.

'The Navigator' (1924) starring Buster Keaton will be screened with live music on Saturday, Feb. 10 at 4:30 p.m. at the Jane Pickens Theatre Film and Event Center, 49 Touro St., Newport, R.I.

Admission is $16 per person. Tickets available online at https://janepickens.com or at the door. For more information, call the box office at (401) 846-5474.

Critic comments on 'The Navigator':

"The Navigator looks and feels like it could be one of today's summer mega-blockbusters. It has a great, simple premise that includes the destroying of a huge set. It's endlessly imaginative, funny, inventive, etc. It's one of the greatest movies I have ever seen."
—Jeffrey Anderson, Combustible Celluloid, 2001

"His comic timing is brilliant. He says more in his face than most actors today do with their face and voices. It's a very funny story with dozens of very memorable comic scenes. A true classic."
—James Higgins, Turner Classic Movies, 2011

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An original release poster for 'Peter Pan' (1924).

TUESDAY, JAN. 30, 2024 / FOR IMMEDIATE RELEASE
For more info, contact: Jeff Rapsis • (603) 236-9237 • jeffrapsis@gmail.com

Rarely seen silent film version of 'Peter Pan' at Somerville Theatre on Sunday, Feb. 11

Original big-screen adaptation of magical fantasy classic, a major 1924 hit, to be shown in 35mm with live musical score

SOMERVILLE, Mass.—It was the film that introduced movie-goers to visions of flying children, magical fairies, human-like animals and menacing pirates.

It was the original silent film adaptation of 'Peter Pan,' a picture personally supervised by author J.M. Barrie. The film was a major hit when released in 1924, with audiences eager to get their first big-screen look at the wonders of Neverland.

Movie fans can see for themselves when the first 'Peter Pan' (1924) is screened in 35mm on Sunday, Feb. 11 at 2 p.m. at the Somerville Theatre, 55 Davis Square, Somerville.

The program will feature live music for the movie by silent film accompanist Jeff Rapsis. General admission tickets are $16 per person; seniors/children $12; tickets available online at www.somervilletheatre.com or at the door.

Thought lost for many years, and overshadowed by more recent adaptations, the original silent 'Peter Pan' maintains its freshness and charm nearly a century after its original release.

In the story, first presented as a stage play in 1904, three children in London are visited one night by Peter Pan, a youth in search of his shadow. Pan shows his new friends how to fly, and then convinces them to join him in a journey to Neverland.

There they encounter Indians, mermaids, and a band of pirates whose leader, Captain Hook, is Pan's sworn enemy. The children are captured by Hook and taken prisoner aboard his pirate ship, setting the stage for an epic battle, the outcome of which will determine if the children may ever return home.

Though the Peter Pan story is well-known today due to subsequent adaptations (and also merchandising that includes a ubiquitous brand of peanut butter), the tale was virtually new when Hollywood first brought it to film in the early 1920s.

In England, author Barrie gave his blessing to the first-ever screen adaptation, though he retained control over casting and insisted that any written titles in the film be taken directly from his own text.

After a major talent search, Barrie settled on unknown 18-year-old actress Betty Bronson for the title role, and filming began in 1924. The role of Captain Hook was played by noted character actor Ernest Torrence, who invented the now-iconic villainous pirate persona that would become a Hollywood legend.

The film's highlights include special effects that maintain their ability to dazzle even today. The film's memorable images include a group of mermaids entering the sea, a miniature Tinkerbell interacting with full-sized children and adults, and a pirate ship lifting out of the water and taking flight.

'Peter Pan' also includes a cast of animal characters played by humans in costume, including the family dog Nana and an alligator who serves as Hook's nemesis, lending the film a magical quality.

After the film's release, no copies of the original 'Peter Pan' were known to exist, and for many years the film was regarded as lost. However, in the 1950s a single surviving print turned up in the George Eastman Archives in Rochester, N.Y., from which all copies today have descended.

Accompanist Jeff Rapsis specializes in creating live musical scores for films made prior to the introduction of recorded sound. Rapsis creates film scores in real time, as a movie is running, using a digital synthesizer to reproduce the texture of a full orchestra. He averages about 120 performances per year, and has created music for more than 380 different silent feature films.

"Improvising a movie score is a bit of a high wire act, but it can result in music that fits a film's mood and action better than anything that can be written down in advance," Rapsis said. "It also lends a sense of excitement and adventure to the screening, as no two performances are exactly alike."

'Peter Pan' is the latest in the Somerville Theatre's 'Silents, Please' series.

The series gives movie-goers a chance to rediscover the experience of silent cinema presented as it was intended: on the big screen using 35mm prints, with live music, and with an audience.

"If you can put all the original elements together, the films of early Hollywood still come to life," said Rapsis. "These are the films that caused people to first fall in love with the movies."

‘Peter Pan’ (1924) will be shown on Sunday, Feb. 11 at 2 p.m. at the Somerville Theatre, 55 Davis Square, Somerville, Mass. Admission $16 per person; seniors/children $12. For more information and to purchase tickets, visit www.somervilletheatre.com or call the box office at (617) 625-5700.


Friday, October 27, 2023

Tonight in Vermont: 'Cat and the Canary,' then 'Nosferatu' and 'The Magician' on Sunday, Oct. 29

Outside the Jane Pickens Theatre last night in Newport, R.I.

As Halloween approaches, the silent film screenings build up to a fever pitch.

Next up: Tonight (Friday, Oct. 27), it's 'The Cat and the Canary' (1927) in Brandon, Vt. More details are in the press release pasted in below.

Last night, it was 'The Phantom of the Opera' (1925) in Newport, R.I. About 120 people piled into the Jane Pickens Theater to experience this classic. 

I got a big laugh when I introduced myself, saying: "If any of you have come here tonight to experience the soaring, passionate melodies of Andrew Lloyd Webber's magnificent score, I'm afraid you're going to be sadly disappointed."

One nice surprise was that the theater had actually put my name on the marquee. So I had to take a picture, even if it required me to point my phone directly at a streetlight:

The night before, it was an equally well-attended screening of 'The Hunchback of Notre Dame' (1923) in Manchester, N.H.—about 120 people at the Rex Theatre. 

Looking beyond tonight's screening of 'The Cat and the Canary' up in Brandon, Vt., it's a double-header on Sunday, Oct. 29.

At 2 p.m., I'll accompany 'The Magician' (1926) at the Town Hall Theatre in Wilton, N.H. It's a last-minute addition to their schedule and mine. 

'The Magician' concerns a scientist (Paul Wegener) who uses an ancient spell to reanimate a dead body. The secret missing ingredient is, of course, the blood of a virgin, making it a good bet for Halloween.

A Spanish language poster that captures the flavor of 'The Magician' (1926).

Directed by the great Rex Ingram (who helmed 'Four Horsemen of the Apocalypse' in 1921), 'The Magician' is a film I've never done before and only recently learned about. The theater was kind enough to add it to their schedule, so off we go.

Then on Sunday at 7 p.m., it's 'Nosferatu' (1922) out at the Leavitt Theatre in Ogunquit, Maine. And on Monday, Oct. 30 at the Park Theatre in Jaffrey, N.H., it's live underscoring for 'Dracula' (1931), the early talkie starring Bela Lugosi that was released without music. 

And the comes the finish line—Halloween itself!

I get a break for a few days, but then will be at the Niles Essanay Silent Film Museum out in Fremont, Calif. to sit in as accompanist for another film I've not accompanied before: 'Raffles, the Amateur Cracksman' (1925)

The museum has provided this helpful description and plot summary: 

"RAFFLES, THE AMATEUR CRACKSMAN (USA, 1925)  Raffles, the debonair society burglar, can’t resist a dare, when a noted criminologist claims that he would prevent a threatened theft in the home of an upper crust family. Of course, Raffles gets the pearls, but he promises the beautiful Lady Gwendolyn that he will return them and reform, which he does. With House Peters, Miss Du Pont, Hedda Hopper, Walter Long. Directed by King Baggot. (This is not to be confused with the John Barrymore version (1917), in which the story line is somewhat different.)

This is my first appearance at the Niles museum since they've reopened after the pandemic, so it'll be great to be back. 

And for those of you who, like me, never heard of King Baggot, I'm pleased to report that he had quite a career on stage in his youth and before the camera during the early days of cinema. 

Here's an excerpt of his entry in the always unimpeachable Wikipedia:

"The first individually publicized leading man in America, Baggot was referred to as 'King of the Movies,' 'The Most Photographed Man in the World' and 'The Man Whose Face Is As Familiar As The Man In The Moon.' "

Wow! It'll be an honor to be collaborating with the Man in the Moon.

So if you find yourself in the San Francisco Bay Area on Saturday, Nov. 4, drop by for what should be an interesting night at the movies.

And now, here's all the info about tonight's screening of 'The Cat and the Canary' up in Brandon, Vt. Hope you'll join us!

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Tully Marshall in an awkward moment in 'The Cat and the Canary' (1927).

WEDNESDAY, OCT. 18, 2023 / FOR IMMEDIATE RELEASE
Contact Jeff Rapsis • (603) 236-9237 • jeffrapsis@gmail.com

'Cat and Canary' (1927) to play Brandon Town Hall with live music on Friday, Oct. 27

Just in time for Halloween: Creepy haunted house silent film thriller to be shown after sundown

BRANDON, Vt.—'The Cat and the Canary' (1927), a haunted house thriller from Hollywood’s silent film era, will be screened with live music on Friday, Oct. 27 at 7 p.m. at the Brandon Town Hall and Community Center, Route 7, in Brandon, Vt.

All are welcome to this family-friendly movie. Admission is free, with free will donations accepted in support of ongoing Town Hall renovations.

The screening, the latest in the venue's silent film series, will feature live accompaniment by Jeff Rapsis, a New Hampshire-based composer who specializes in creating music for silent films.

Please note that this program takes place on a Friday, rather than the usual Saturday night for most Brandon Town Hall silent film programs.


'The Cat and the Canary' stands as the original movie thriller—the first picture to feature the reading of a will in a haunted mansion complete with clutching hands, a masked killer, disappearing bodies, and secret passageways.

Silent film starlet Laura LaPlante leads the cast as a young heiress who must spend the night in the creepy old mansion, which is filled with relatives who all have motives to frighten her out of her wits. Meanwhile, a dangerous escaped lunatic is loose on the grounds. Can she and the others make it through the night?

Created for Universal Pictures by German filmmaker Paul Leni and based on a hit stage play, 'The Cat and the Canary' proved popular enough to inspire several remakes, including one starring Bob Hope. It was also the forerunner of all the great Universal horror classics of the 1930s and '40s.

The Brandon Town Hall screening will use a fully restored print that shows the film as audiences would have originally experienced it. 'The Cat and the Canary' will be accompanied by live music by New Hampshire composer Jeff Rapsis, who specializes in silent film scoring.

Rapsis will improvise the score on the spot during the screening.

"Silent film is all about the audience experience, and this one is a perfect Halloween crowd-pleaser," Rapsis said. "It has something for everyone—spooky scenes, some good comedy, and it's all fine for the whole family."

Critics praise the original 'Cat and the Canary' for its wild visual design and cutting edge cinematography.

Film reviewer Michael Phillips singled out the film for using "a fluidly moving camera and elaborate, expressionist sets and lighting to achieve some of the most memorable shots in silent film, from the amazing tracking shots down the curtain-lined main hallway to the dramatic zooms and pans that accompany the film's shocks."

Laura LaPlante in 'The Cat and the Canary' (1927). 
 
Leonard Maltin called the original 'Cat and the Canary' a "delightful silent classic, the forerunner of all "old dark house" mysteries."

The Brandon Town Hall screening of 'The Cat and the Canary' is sponsored by Pam and Steve Douglass.

Upcoming programs in the Brandon Town Hall's silent film series include:

• Saturday, Nov. 11, 7 p.m.: 'The Big Parade' (1925) starring John Gilbert. We salute Veterans Day with this sweeping saga about U.S. doughboys signing up and shipping off to France in 1917, where they face experiences that will change their lives forever—if they return. MGM blockbuster directed by King Vidor; one of the biggest box office triumphs of the silent era. Sponsored by Donald and Dolores Furnari; Jeanette Devino; and Lorrie Byrom.

'Cat and the Canary' will be shown on Friday, Oct. 27 at 7 p.m. at the Brandon Town Hall and Community Center, Route 7, in Brandon, Vt.

Admission is free, with free will donations accepted in support of ongoing Town Hall renovations.  For more info, visit www.brandontownhall.com.