"An evening of theater, comedy, music... and technology free of all inherent paradoxes."
Sunday, March 20th @ 7:30
Oberon @ Harvard Sq.
2 Arrow Street, Cambridge, MA
Buy tickets at www.cluboberon.com
$15 in advance, $18 at the door
RSVP on FACEBOOK
BILLIONS OF BUCKS: A CYBERPUNK REVUE
is a transhumanist variety show
inspired by DEATH AND THE POWERS: THE ROBOTS' OPERA and the "Gods and Machines" festival.
THE SHOW: A tech giant unveils their new product: a live-action holographic A.I. capturing system which promises to revolutionize theater forever. The only thing is... it's never been tested. But what could possibly go wrong? O_o
Part dystopian thriller, part tongue-in-cheek parody, all immersive techno-centric theater. Patrons will be encouraged to augment their experience by "capturing" the show through their own technology: video, photo, text, etc., driving the point home by participating in their own multi-dimensional engagement.
Dennis Hurley “hologramizes” comedy troupe
FRIENDS OF GERTRUDE!
MEI OHARA’s haunting electric violin!
THE MEANINGLESS DILEMMA:
a Dystopian Postmodernist Punk-Parable... you know, for kids!
Humie the Human vs. Artie the Arta in a selection from 2010: OUR HIDEOUS FUTURE: THE MUSICAL
Live original music delights sprinkled with an electro-dance number by SONIA CARRION
SKIP THE AVENGER:
A May Day memory from the Reagan years!
THE PICTURE OF DORIAN GRAY
featuring Fonda Feeling
Gothic horror lives on in the Digital Age
Augmenting Acoustic Americana with TALLAHASSEE
Strangeloops (and other subsonic delights) by CORTEXELATION
and BRIAN AGOSTA your emcee!
Produced by Johnathan Carr
EMAIL if you would like to perform
or get involved with the show!
The Augmented History of Oberon
Brush up on some local history before experiencing the show. Below is a timeline of the Oberon venue at Zero Arrow.
It's certainly been through a lot! ; )
Zero Arrow Street is established as a meeting house by a group of Nouveau Bohemians from NYC hoping to spread and encourage their ideals with the Cambridge crowd.
Originally only accessible to those in the know—Zero Arrow is actually located at Two Arrow Street—Zero Arrow becomes an increasingly popular meeting place for Harvard intellectuals.
*There is some historical debate on whether the ground-breaking Steam Tech used to run the drink dispensers and ice machines was contributed by MIT students during the Bohemain era, or if it was stolen from the MIT Steam Labs by the Harvard ne’er-do-wells.
The original proprietors move to San Francisco; Aubrey Huss turns the once-underground Bohemian hotspot into a men’s-only club for the Harvard set.
*Very little is known about Zero Arrow during this time. University club members were always highly private.
Aubrey Huss uses club dues to make counterfeit Liberty Bonds, and then disappears from public life. Scandal and bankruptcy close Zero Arrow’s doors temporarily. The club’s subterrainian basement is converted into a bomb shelter for use during World War I.
Start of Prohibition: The club’s members—many of whom were successful Harvard alum—become investors; they run a lucrative fundraising campaign by rebranding Zero Arrow as a posh Vaudeville Burlesque now open to the general public.
With the aid of the newest Steam Tech, Zero Arrow builds a distillery and begins to host clandestine speakeasies in its converted WWI bomb shelter. These gatherings are frequented by members of The Lost Generation, including young businessman Terry James “T.J.” Biloxi (father of William J. Biloxi).
*Again, rumors fly as to whether this Steam Tech was donated or heisted. MIT begins construction of their infamous steam tunnels.
T.J. Biloxi becomes manager of Zero Arrow. He and his contemporaries introduce short European film talkies that play in between the vaudeville acts; the showing of these shorts become a popular draw. In October The Stock Market Crashes.
1930 – 1932
At Zero Arrow, the speakeasies and the foriegn talkies wane during the start of The Great Depression, while their vaudeville acts thrive. Many of these acts are filmed.
End of Prohibition
The popularity of American film grows. The public, content with watching the filmed versions of their favorite vaudeville performances, unwittingly contribute to its sudden decline.
This is the last year Zero Arrow hosts any burlesque. Though films are shown, Zero Arrow once again becomes more of free space for artists to share ideas.
America Enters WWII; The Great Depression ends. T.J. Biloxi re-enlists in the Army as a radio operator. With America’s men off to War, Zero Arrow becomes almost exclusively female-run. Radcliffe students and alum become major players in the administration and management, establishing “theater nights” on Tuesdays and Thursdays for the local students to participate. On Wednesdays they run the latest newsreels from the warfront.
T.J. Biloxi dies at Normandy.
End of WWII: The men return from war. Zero Arrow opens as a cinema and becomes renowned for their cutting-edge film projection and steam-popped popcorn.
*Documents have since surfaced proving (on this occasion) that the Steam Tech was acquired from an MIT undergrad, who stole it to pay for his tuition.
Jack Kerouac gives name to the Beatnik Generation.
With the profits from its shows, Zero Arrow management buys The Brattle Theater and will reopen it as a movie house in 1953. A number of well-known, local beatniks buy Zero Arrow.
Zero Arrow reopens as a Beat lounge.
The Zero Arrow Beat lounge becomes a wildly popular hangout for artists of every ilk. They take great pride in Zero Arrow’s Bohemian roots.
*One point of contention, however, is the origin of their steam-powered espresso and cappuccino makers, reported missing from the newly opened MIT Steam Café around this time.
In the harrowing and unsure days during the Cuban Missile Crisis, Zero Arrow’s WWI bomb shelters become active again. Frequent air-raid drills drive up business.
As Beat culture wanes, Hippie culture waxes. A young woman by the name of Katherine Moonshine [sic] tries to get her acid rock opera performed on one of the lounge’s theater nights; a show that would later become The Donkey Show, Katherine’s experimental adaptation of A Midsummer Night’s Dream—entitled Oberon—was shot down by the older Beat management for being too frenetic.
Zero Arrow mysteriously closes.
*Certain internal documents from this time show that an anonymous businessman—whom we now know to be William J. Biloxi—offered to pay Zero Arrow’s owners to produce Katherine’s show. When they still refused, William J. Biloxi pulled some legal strings to force ownership over to himself.
Zero Arrow reopens as Zero Arrow Theater, with Katherine’s Oberon as its front-runner. The show—with Katherine at the helm—is an overnight smash hit. Biloxi remains anonymous as the theater’s investor.
A true visionary, Katerine keeps Oberon modern by maintaining her finger on the pulse of the hip counterculture; she constantly rewrites Oberon’s style and musical content to fit the times. She also appropriates the disused Steam Tech to supplement her reportedly amazing pyrotechnics.
*Some sources claim Katherine’s purveyance into edgier territory led to the introduction of live animals into Oberon’s show; however, there is no hard evidence of this, or of it being the reason of Oberon’s renaming to The Donkey Show in 1974.
William J. Biloxi reveals himself to Katherine Moonshine [sic] as Zero Arrow’s mysterious investor. Having fallen in love with her some time ago, he discloses himself only now because he is dying of a rare disease that the doctors are calling a “mutated cancer” (though they can find no visible tumors). In what some regard as Florence Nightengale Syndrome, Katherine rapidly returns this love.
*William J. Biloxi was the CEO of the medical tech giant Kapha Technologies.
Katherine cohabitates with Biloxi while caring for him. The have two children, Brian & Hannah Biloxi-Moonshine [sic]: 1979 & 1983, respectively. The Donkey Show continues to run, but never updates past 1978.
Biloxi dies, and it is learned that he has left not only his fortune, but also his company—Kapha Technologies—to Katherine; she takes up the mantle of CEO, leaving Zero Arrow—now referred to as “Oberon”—and The Donkey Show to her contemporaries.
Having evolved into a black box, “Oberon” continues to serve as a venue for avant-garde theater, but The Donkey Show is retired. Katherine dives into an experimental research project Biloxi had begun: live-action recreation and capture (LARC)
Katherine is diagnosed with an aggressive form of what her doctors believe to be melanoma, though they fail to find any detectable malignant masses.
*Though it is generally believed that at this time she had washed her hands entirely of “Oberon,” documents discovered after her death prove she still scouted and approved ground-breaking acts.
Katherine dies, leaving Kapha Technologies & the LARC prototype to her two children. Brian—fresh out of Harvard—becomes a Senior Developer. He also takes over at the theater as Executive Director, officially rebranding it as Oberon. Hannah—a first-semester junior double-majoring in finance & engineering at Harvard, though still 18-years-old—must become a part-time student to take over as CFO at Kapha Technologies. She also takes over her mother’s work with LARC and begins adapting Kapha’s innovative medical imaging tech for Oberon’s shows.
Though official reports rule it an accident, many sources claim MIT Steam Lab students—disgruntled after years of treachery against them—set off a series of steam-pipe explosions that cripple Oberon.
Brian & Hannah forge a partnership with The American Repertory Theater. Together the two siblings and the A.R.T. renovate, repair, and reinvent Oberon. The Biloxi-Moonshine’s [sic] integrate the new Tech from Kapha into Oberon’s performances.
After developing a line of highly successful medical devices, Brian is promoted to CEO of Kapha.
Hannah finally graduates from Harvard, but is diagnosed later this year with an incurable “consumption.” However, she still takes over as Artistic Director at Oberon.
Kapha Technologies releases DayRisk, iSurance, and their flagship product the Proteus, cementing their dominance as the leading corporation in the global medical tech industry.
Hannah succumbs to her mysterious, consumptive disease. Brian takes a year off to mourn his mother & his sister.
Inspired by Hannah’s work with their mother’s LARC experiment, Brian begins development for Oberon’s 2009 season.
In honor of his mother & his sister, Brian debuts The Donkey Show—just as his mother left it in 1978.
Brian takes the reins on the Tech that Hannah spent the rest of her life developing, planning something that will revolutionize Theatre.
2011 The art of Theatre is revolutionized.