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Scratch Night
Thursday, May 9
Scratch Night is a multidisciplinary salon of works-in-progress from Kansas City’s most exciting generative performing artists. Help shape what’s new and what’s next on Kansas City’s stages by participating in our unique audience feedback framework.
Stay up-to-date on future Scratch Nights!
Join our email list by clicking here.
Follow us on Instagram.
Stay up-to-date on future Scratch Nights!
Join our email list by clicking here.
Follow us on Instagram.
TONIGHT'S LINEUP |
Choreography and live music A collaboration of Arianna Hughlett, Kelley Gant & Company Run time: approximately 10 minutes followed by an audience feedback interlude |
Readings of new works from Sandra Revelle Run time: approximately 15 minutes followed by an audience feedback interlude |
New music from Liney Blu and their band Run time: approximately 15 minutes followed by an audience feedback interlude |
Please feel free to stick around after the performance for another beverage and a mingle! |
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Arianna Hughlett & Kelley Gant |
About the piece: This dance work explores the complex relationship an artist has with their audience and their instrument– in this case, the performer's body. How well do you know your own body? Do you realize when you are performing? Coupled with the improvisational vocals, the ballerina must resist her rigid programming and trust natural instincts onstage.
Choreographer: Arianna Hughlett
Company: Molly Cook & Ashley Moehlenhoff
Music/Sound: Kelley Gant
About Arianna: Arianna Hughlett is a freelance dancer and choreographer based in her hometown of Kansas City. She began her training at Kansas City Ballet School from a young age and received additional formative training at Kansas School of Classical Ballet. She grew up traveling to attend summer programs at The Royal Ballet School, Pacific Northwest Ballet School, San Francisco Ballet School, and others. In 2019, she joined Boston Ballet School as a Trainee under Margaret Tracey's direction and entered the Graduate Program a season later, training with Kathleen Mitchell and Peter Stark. During this time, she performed in the Company’s productions of Swan Lake, The Nutcracker, Giselle, and Chaconne and danced featured roles in Boston Ballet II performances, including works by Balanchine, Petipa, Jorma Elo, and Mikko Nissinen. She then danced with Grand Rapids Ballet for the 2022-2023 season as well as Aspen Santa Fe Ballet for their 2023 production of The Nutcracker. At Boston Ballet School, she participated in the Student Choreographic Project which led to her work Quartet premiering as the first student-choreographed work for Next Generation at the Citizens Bank Opera House in May 2022. Since then, she has choreographed other works for Boston Ballet II, Boston Ballet School’s Graduate Program, and Grand Rapids Ballet.
About Kelley: Kansas-born Kelley Gant is adept at using voice, whistling, and arsenal of effect pedals to create engaging melodies or lush ambient soundscapes in both traditional jazz ensembles, experimental improvisations, and her small electro/acoustic band. In 2019, she founded the "Spine Showcases" performance series, produced in partnership with the Charlotte Street Foundation, to elevate overlooked jazz composers in Kansas City. In 2022, she was awarded a place in the Kansas City Jazz Orchestra’s inaugural season of “Riff Generation”. In January 2024, Kelley participated in the month-long Escape to Create residency. Still to come in 2024 is the release of her first studio album. www.kelleygant.com
About Molly: Molly Cook trained at the American Dance Center in Overland Park, Kansas before joining Oklahoma City Ballet’s Studio Company in 2017. She was promoted to Apprentice in 2019, and later promoted to Corps de Ballet in 2020. During her four seasons with Oklahoma City Ballet, Cook performed Septime Webre’s ALICE (in wonderland), August Bournonville’s La Sylphide, and Michael Pink’s Dracula. She was also featured in Jiří Kylián’s Petite Mort and George Balanchine’s The Four Temperaments. She has spent the past three seasons in Kansas City dancing with Störling Dance Theater.
About Ashley: Ashley Moehlenhoff, born in Overland Park, Kansas, began her training locally at a young age and continued her training at various summer programs including American Ballet Theater, Pittsburgh Ballet Theater, Oberlin Dance Collective (ODC), Oklahoma City Ballet, and Kansas City Ballet. Other training includes performing Uwe Sholz’s Santus Y Ave Verum, from “The Great Mass”, at the XVII Cita con la Danza Festival in Benicàssim, Spain, and performing Austin Hartel's Sunrise on Hatteras at the VIII Gala de fi de Curs in Barcelona, Spain. Ashley graduated from The University of Oklahoma with a Bachelor of Fine Arts in Ballet Pedagogy and a Minor in General Business. There she was a member of the Oklahoma Festival Ballet and Contemporary Dance Oklahoma performing many classical and contemporary works. Ashley also had the opportunity to perform as a guest artist in Human After All with Hartel Dance Group. After graduating, Ashley spent two seasons as a Company Member with the Ballet Quad Cities and is currently in her fifth season professionally with Störling Dance Theater. Ashley enjoys working for Take The Stage outreach program in the Kansas City public schools and continues to explore her interests as a teacher and choreographer throughout the Kansas City area.
Choreographer: Arianna Hughlett
Company: Molly Cook & Ashley Moehlenhoff
Music/Sound: Kelley Gant
About Arianna: Arianna Hughlett is a freelance dancer and choreographer based in her hometown of Kansas City. She began her training at Kansas City Ballet School from a young age and received additional formative training at Kansas School of Classical Ballet. She grew up traveling to attend summer programs at The Royal Ballet School, Pacific Northwest Ballet School, San Francisco Ballet School, and others. In 2019, she joined Boston Ballet School as a Trainee under Margaret Tracey's direction and entered the Graduate Program a season later, training with Kathleen Mitchell and Peter Stark. During this time, she performed in the Company’s productions of Swan Lake, The Nutcracker, Giselle, and Chaconne and danced featured roles in Boston Ballet II performances, including works by Balanchine, Petipa, Jorma Elo, and Mikko Nissinen. She then danced with Grand Rapids Ballet for the 2022-2023 season as well as Aspen Santa Fe Ballet for their 2023 production of The Nutcracker. At Boston Ballet School, she participated in the Student Choreographic Project which led to her work Quartet premiering as the first student-choreographed work for Next Generation at the Citizens Bank Opera House in May 2022. Since then, she has choreographed other works for Boston Ballet II, Boston Ballet School’s Graduate Program, and Grand Rapids Ballet.
About Kelley: Kansas-born Kelley Gant is adept at using voice, whistling, and arsenal of effect pedals to create engaging melodies or lush ambient soundscapes in both traditional jazz ensembles, experimental improvisations, and her small electro/acoustic band. In 2019, she founded the "Spine Showcases" performance series, produced in partnership with the Charlotte Street Foundation, to elevate overlooked jazz composers in Kansas City. In 2022, she was awarded a place in the Kansas City Jazz Orchestra’s inaugural season of “Riff Generation”. In January 2024, Kelley participated in the month-long Escape to Create residency. Still to come in 2024 is the release of her first studio album. www.kelleygant.com
About Molly: Molly Cook trained at the American Dance Center in Overland Park, Kansas before joining Oklahoma City Ballet’s Studio Company in 2017. She was promoted to Apprentice in 2019, and later promoted to Corps de Ballet in 2020. During her four seasons with Oklahoma City Ballet, Cook performed Septime Webre’s ALICE (in wonderland), August Bournonville’s La Sylphide, and Michael Pink’s Dracula. She was also featured in Jiří Kylián’s Petite Mort and George Balanchine’s The Four Temperaments. She has spent the past three seasons in Kansas City dancing with Störling Dance Theater.
About Ashley: Ashley Moehlenhoff, born in Overland Park, Kansas, began her training locally at a young age and continued her training at various summer programs including American Ballet Theater, Pittsburgh Ballet Theater, Oberlin Dance Collective (ODC), Oklahoma City Ballet, and Kansas City Ballet. Other training includes performing Uwe Sholz’s Santus Y Ave Verum, from “The Great Mass”, at the XVII Cita con la Danza Festival in Benicàssim, Spain, and performing Austin Hartel's Sunrise on Hatteras at the VIII Gala de fi de Curs in Barcelona, Spain. Ashley graduated from The University of Oklahoma with a Bachelor of Fine Arts in Ballet Pedagogy and a Minor in General Business. There she was a member of the Oklahoma Festival Ballet and Contemporary Dance Oklahoma performing many classical and contemporary works. Ashley also had the opportunity to perform as a guest artist in Human After All with Hartel Dance Group. After graduating, Ashley spent two seasons as a Company Member with the Ballet Quad Cities and is currently in her fifth season professionally with Störling Dance Theater. Ashley enjoys working for Take The Stage outreach program in the Kansas City public schools and continues to explore her interests as a teacher and choreographer throughout the Kansas City area.
Arianna & Kelley's questions for you:
- Have you been to a ballet performance in the last year? Why/why not?
- In five words or less, describe your emotional reaction to the trio section.
- In five words or less, describe your emotional reaction to the solo section.
- What was the most memorable part of the performance that you saw/heard?
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Readings of new works from Sandra Revelle |
About Sandra: My basic sewing skills were cultivated on my mother’s antique Singer. The process of machine sewing got me to the finish-line with speed, but I was later drawn to the detail and quiet rhythm of cross stitch and hand embroidery. My recent exploration of textiles as an art form is both thrilling and daunting. I have discovered and explore the vast possibilities fabric offers in texture, pattern, and color.My process is uncomplicated but often yields unexpected results. It is rare for the completed scene to be in my mind when I begin a panel. I choose several remnants that catch my eye, find contrasting or matching colors or patterns, and then follow my imagination. All appliques are handmade originals and I use both hand and machine stitch. My work is wrapped from start to finish with the surprise element of prayer. The outcome of the projects can be soul-stirring. I have learned to relax and flow with the inspiration, especially since fabric is a forgiving medium. Just as life can get a little wild; I often leave edges raw and strands dangling. www.remnantsarise.com
Sandra's pieces and related questions for you:
First movement: Elements Collection - Elemental Haiku
1. What elements could be added?
2. Which element would you step more comfortably into: the artwork or the poem, and why?
Second movement: Style Collection
Beulah
3. What's the difference between braids, cornrows, locs, and fros?
Rita
4. How is Rita justified or not, in bringing up past treatment of blacks, for not touching her hair?
Connie
5. How does it feel to know something as common today as shells were used to barter for human lives?
6. What makes Connie consider herself a pearl? Do you consider her as such? Why? Why not?
Third movement: Charles Gilbert
7. Why do you think it took Margaret so long to act on behalf of her son?
8. Do you understand what would have happened if Margaret, Earl, or Isabella were caught helping? What?
9. Overall, how would you describe my writing style in one word?
1. What elements could be added?
2. Which element would you step more comfortably into: the artwork or the poem, and why?
Second movement: Style Collection
Beulah
3. What's the difference between braids, cornrows, locs, and fros?
Rita
4. How is Rita justified or not, in bringing up past treatment of blacks, for not touching her hair?
Connie
5. How does it feel to know something as common today as shells were used to barter for human lives?
6. What makes Connie consider herself a pearl? Do you consider her as such? Why? Why not?
Third movement: Charles Gilbert
7. Why do you think it took Margaret so long to act on behalf of her son?
8. Do you understand what would have happened if Margaret, Earl, or Isabella were caught helping? What?
9. Overall, how would you describe my writing style in one word?
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New music from Liney Blu and their band |
Set List
If I were a Cowboy (acoustic guitar and band)
I'm trying Too (acoustic guitar)
Better Man (electric guitar and band)
Featuring: Renee Huey (bass), Jones Goldman (drums)
About Liney: Kansas City singer songwriter Liney Blu writes from a unique place of personal experience and identity. They vividly show us how vulnerability is strength and require us to see love, frustration, disappointment and humor through lenses we may not have considered. Every song finds Liney passionately and sometimes bravely exploring a broader, more inclusive understanding of the human experience while letting us into some sacred personal spaces to do so. And while many listeners are just finding Liney Blu, they set out on their path as a songwriter and artist as a teenager.
At age 17 as Caroline Blubaugh she released a first EP titled "Green" which featured the single "San Francisco” that quickly saw 185K Spotify streams. In 2023 as Liney Blu, came a 2nd EP, "Pennsylvania St." with bandmates bassist Renee Huey and drummer Jones Goldman. “Pennsylvania St.” is an introspective, sometimes raw, indie pop rock/folk synthesis built on innovative arrangements relentlessly pushed along by Liney’s deep, resonant vocal, subtly insistent delivery and very personal passion.
New music building on the release of “Pennsylvania St.” is in the works. Liney Blu can be heard in venues around the Kansas City/Lawrence area with an expanded show schedule planned for 2024.
www.lineyblu.com
If I were a Cowboy (acoustic guitar and band)
I'm trying Too (acoustic guitar)
Better Man (electric guitar and band)
Featuring: Renee Huey (bass), Jones Goldman (drums)
About Liney: Kansas City singer songwriter Liney Blu writes from a unique place of personal experience and identity. They vividly show us how vulnerability is strength and require us to see love, frustration, disappointment and humor through lenses we may not have considered. Every song finds Liney passionately and sometimes bravely exploring a broader, more inclusive understanding of the human experience while letting us into some sacred personal spaces to do so. And while many listeners are just finding Liney Blu, they set out on their path as a songwriter and artist as a teenager.
At age 17 as Caroline Blubaugh she released a first EP titled "Green" which featured the single "San Francisco” that quickly saw 185K Spotify streams. In 2023 as Liney Blu, came a 2nd EP, "Pennsylvania St." with bandmates bassist Renee Huey and drummer Jones Goldman. “Pennsylvania St.” is an introspective, sometimes raw, indie pop rock/folk synthesis built on innovative arrangements relentlessly pushed along by Liney’s deep, resonant vocal, subtly insistent delivery and very personal passion.
New music building on the release of “Pennsylvania St.” is in the works. Liney Blu can be heard in venues around the Kansas City/Lawrence area with an expanded show schedule planned for 2024.
www.lineyblu.com
Liney's questions for you:
Much of my focus to-date has been on lyricism. I'm now starting to think more about arrangements and musicality. Most of these questions relate to this idea.
- With the lyrical content dealing with personal and large themes, does the arrangement of the music match the lyrical content? In other words, if the songs had a “larger” feel to them (more instruments, more complexity), would that enhance or distract from the lyrical content?
- Share, or paraphrase, a lyric that stood out to you from the set. What specifically resonates with you about it?
- Do you think any of the songs would benefit from the addition an instrument in the arrangement? Which song and which instrument(s)?
- Do you think any of the songs would benefit from the removal of an instrument in the arrangement? Which song and which instrument(s)?
Lighting Designer & Event Technician: Selena Gonzalez-Lopez
Production Assistant: Kyle Womelduff
Event Photographer: Vaughan Harrison, Seen Productions
Scratch Night Series Curator/Producer: Jay Gilman, borderlandsKC
Production Assistant: Kyle Womelduff
Event Photographer: Vaughan Harrison, Seen Productions
Scratch Night Series Curator/Producer: Jay Gilman, borderlandsKC
About borderlandsKC
A new cutting-edge live + digital arts incubator, borderlandsKC presents adventurous projects that expand Kansas City's spectrum for artistic invention. borderlandsKC is Jay Gilman's producing entity. A recently-returned KC native, Jay spent more than a decade as a curator, producer, and civic practice artist in Minneapolis and Philly, including as Artistic Director of Minnesota Fringe where he funded and launched three new festivals (including the site-specific outdoor festival Beyond The Box and Minnesota FamilyFringe). Jay serves on Charlotte Street's Performing Arts Programming Committee; and has previously served as a panelist for the National Endowment for the Arts, Missouri Arts Council, Minnesota State Arts Board, and other entities. As a director, some of his favorite projects include an actor-instrumented production of 'Spring Awakening'; a production in collaboration with Autistic designers and production advisors of 'The Curious Incident of the Dog in the Night-time'; and a stripped down production of 'Peter & The Starcatcher'. www.jaygilman.com
Stay up-to-date by joining our email list here and following us on Instagram here.
Stay up-to-date by joining our email list here and following us on Instagram here.
Our Thanks
The staff and board of Charlotte Street Foundation, including Amy Kligman, Patrick Alexander, and Amanda Middaugh; Kyle Mullins; Lynn Murray + Richard Gilman; Stephanie Roberts + UMKC Theatre.
Scratch Night is made possible through Charlotte Street Foundation's Open Call program. Our gratitude to Charlotte Street's sponsors and funders for making this event and all of CSF's activities possible.
Scratch Night is made possible through Charlotte Street Foundation's Open Call program. Our gratitude to Charlotte Street's sponsors and funders for making this event and all of CSF's activities possible.
Applications are open for future Scratch Nights!
Are you an artist interested in applying for the Scratch Series? Click here to learn more and apply. We review applications on a rolling basis.
