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EVENTS

Oct 25

Doors open at 1:00 pm Starts at 2:00 pm All ages

Price: $10-$20

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Fall Children’s Show
October 25th
Alice in Wonderland and Pied Piper of Hamelin
2pm matinee
7 pm evening performance

Alice in Wonderland
Music from Le Tombeau de Couperin by Maurice Ravel
Choreography by Alice Reid
The tale and her adventures in Wonderland featuring favorite characters like The Mad Hatter, Tweedle Dee and Tweedle Dum, and the Cheshire Cat.

The Pied Piper of Hamelin is a colorful ballet featuring an evocative score by Edvard Grieg, including the haunting "Hall of The Mountain King”

While Pied Piper is timely for Halloween (children as well as rats are led away from their village), artistic elements, including the unforgettable backdrop by Alice Reid, the comic relief provided by the clownish Mayor and his two clumsy sidekicks, and the virtuoso dancing displayed by the Gypsies, Townspeople and the Pied Piper himself, reassuringly demonstrate that this is all make-believe.

Oct 25

Doors open at 6:00 pm Starts at 7:00 pm All ages

Price: $10-$20

Event Information

Fall Children’s Show
October 25th
Alice in Wonderland and Pied Piper of Hamelin
2pm matinee
7 pm evening performance

Alice in Wonderland
Music from Le Tombeau de Couperin by Maurice Ravel
Choreography by Alice Reid
The tale and her adventures in Wonderland featuring favorite characters like The Mad Hatter, Tweedle Dee and Tweedle Dum, and the Cheshire Cat.

The Pied Piper of Hamelin is a colorful ballet featuring an evocative score by Edvard Grieg, including the haunting "Hall of The Mountain King”

While Pied Piper is timely for Halloween (children as well as rats are led away from their village), artistic elements, including the unforgettable backdrop by Alice Reid, the comic relief provided by the clownish Mayor and his two clumsy sidekicks, and the virtuoso dancing displayed by the Gypsies, Townspeople and the Pied Piper himself, reassuringly demonstrate that this is all make-believe.

With special introduction by David Borden - Film Composer for the Exorcist, Moog Musician and Cornell Professor. Brought to you by The History Center in Tompkins County and The Bob Moog Foundation. Movie starts at 8pm. Rate R, Ages 17+.

Oct 30

Oct 30

Doors open at 7:00 pm Starts at 8:00 pm Ages 17+ Only

Price: $5-$6

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Something beyond evil is happening in a little girl's room. Regan has brutally changed both in the way she looks and the way she acts, with violent outbursts on everyone who comes in contact with her. Her worried mother gets in contact with a priest who comes to the conclusion that Regan is possessed. The top priest who can deal with an exorcism, Father Merrin, is called in to help save Regan from the demon inside her.

Eclectic though traditionally minded country band that looks to everything from Tex-Mex to rockabilly to classic pop to get their sound. All ages. Show starts at 8pm.

Nov 2

Nov 2

Doors open at 7:00 pm Starts at 8:00 pm All ages

Price: $35-$45

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Eclectic though traditionally minded country band that looks to everything from Tex-Mex to rockabilly to classic pop to get their sound.

Beninese singer whose Fon-language dance music and percussive rhythms earned her acclaim beyond her homeland.

Nov 7

Nov 7

Doors open at 7:00 pm Starts at 8:00 pm All ages

Price: $24.50-$36.50

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Angelique Kidjo digs into her roots with her new Razor & Tie release, OYO. Roots that reach far beyond her West African homeland of Benin, because Grammy Award winning singer, dancer and songwriter Kidjo is a definitive 21st century world artist. Her art roves across boundaries, genres and ethnicities, finding the connections that link musical forms from every part of the world, while still bonding closely with her own traditions.

with Girlpool

Singer/songwriter and head of Rilo Kiley whose folk-country-rock solo concoctions recall Emmylou Harris. **NOTE: All Orchestra seating is general admission. If you want reserved seating please choose Loge or Upper Balcony seating.**

Nov 8

Nov 8

Doors open at 7:00 pm Starts at 8:00 pm All ages

Price: $25

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Jenny Lewis returns with her new album, The Voyager, on July 29th. The Los Angeles artist’s first solo LP since 2008’s Acid Tongue, The Voyager is Lewis’s most deeply personal, and her most musically robust. Featuring production work from Ryan Adams, Beck, as well as Lewis and her longtime collaborator Johnathan Rice, The Voyager finds Lewis at her sharp-witted best, singing about her recent life with honesty and incisiveness. And then there’s her voice, which was already a force to be reckoned with, but sounds even richer, more nuanced, more powerful. Lewis says The Voyager was the hardest album she has ever made, documenting her struggle to cope following the death of her estranged father in 2010 and the subsequent break-up of her band, Rilo Kiley. In the three years she worked on it, there were moments she thought she’d never finish. But, more than ever before, she knew she had to. The story is best told in Lewis’s own words:
Making The Voyager got me through one of the most difficult periods of my life. After Rilo Kiley broke up and a few really intense personal things happened, I completely melted down. It nearly destroyed me. I had such severe insomnia that, at one point, I didn’t sleep for 5 straight nights. Many of the songs on The Voyager came out of the need to occupy my mind in the moments when I just couldn’t shut down.
I asked for help from a lot of places. The first song on the album, “Head Under Water,” is about some of that. I really did get hypnotized. I tried everything. I got acupuncture. I did neurofeedback. I did massage therapy. I looked in the phonebook for a healer in Studio City and I met this woman who barely touched me for an hour and then wrote on index cards about what I was going through. All this just to try and get to sleep! I was ready to call the psychic hotline, “Tell me when this fucking thing is gonna be over.”
I recorded through my father’s death and terrible insomnia and all of the related fall-out. I just kept recording. Some of it was good and some of it wasn’t, but it took my mind off what was going on. Over the course of a couple years, I recorded dozens of demos, often trying multiple versions of the same song. I knew I had to finish it. And every single one of my friends helped me get there. This record took an entire village of musicians, including Ryan Adams, Beck, Johnathan Rice, Farmer Dave Scher, Blake Mills, Benmont Tench, Jason Boesel, Nathaniel Walcott, Alex Greenwald, Lou Barlow, First Aid Kit, the Watson Twins, Z. Berg, and Becky Stark, among others.
“Just One Of The Guys” was one of the tunes I’d tried a few different ways before I finally recorded it with Beck, at his home studio in Malibu. He ended up producing the song and contributing backing vocals. The whole experience was super laid-back — walking on the beach, talking about movies and the Rolling Stones and French pop music. It was just very mellow and lovely. But that was on the eve of my meltdown, and I didn’t go back again for a year.
I took a break from recording last spring and summer to tour with The Postal Service, for the tenth anniversary of our album, Give Up. It felt so good to play those songs. Every night I got crazy chills. I’d look down and the hair on my arm would be standing on end during “The District Sleeps Alone Tonight.” After having been a front-person for most of my career, it was an amazing time to just be there on the side, to support Ben and Jimmy. It was a great path back to myself, in a way. But the whole time I was out there, I was thinking, “This is wonderful, but I need to be playing my songs. I need to finish up this album once and for all.”
I was searching for a spirit guide. With everything that was going on in my life these past few years, I wanted to try ceding control. It can be a relief, at a certain point in your creative life. You let in a bit of criticism and it frees you up. And Ryan Adams and his partner Mike Viola were the final piece of the puzzle. Ryan and I didn’t know each other very well before this album — we had hardly even listened to one another’s music, to be honest. But I’d heard he built this awesome studio, Pax Am, at Sunset Sound, so I hit him up and asked if I could come in and record something. We put together a band — Ryan on guitar, Griffin Goldsmith from Dawes on drums, Gus Seyffert on bass, Mike on guitar and piano — and booked time for the very next day after I got back from the Postal Service tour.
I had this song, “She’s Not Me,” and I wasn’t really happy with any of the versions of it I’d tried. We ended up doing it in a different key, with a different tempo, with a part cut out. The biggest change was doing it live. There’s just something palpable about a group of people playing music live in a room together. The session was so fluid: I taught the band the changes, we did two takes, and that was it. I thought, “Well, that was awesome,” but Ryan wouldn’t let us listen back to it. The entire two weeks we were in the studio, we never listened to playback of anything, we just moved onto the next song.
Some of his methods infuriated me at the time, but I thrive in that environment — having some conflict to resolve, or having to prove myself. I was showing Ryan that I had something to say, and he knew how to annoy me into that perfect spot. We would get into these philosophical arguments about how to make records. Every time I wanted to put a harmony on a song, Ryan would ask me, “Do you come from a musical theater background?” His argument was that great songs, with great stories, don’t need background vocals. He would say, “Morrissey doesn’t use background vocals.” And I would yell: “Well, I do!”
I trusted the vision, and Ryan ended up being the person to get me over the fear of finishing something I’d been working on for so long. He found me when I was in a weird, tough spot, and he really helped me. And then we got to know each other as friends: You’re singing these songs and you’re weeping in front of your new bro who’s producing your record, and it’s heavy.
While I was in it, I couldn’t see my way out. But eventually, I started feeling better and the insomnia passed. I can sleep again, but I’m certainly a different person now. This record was the hardest one I’ve ever made. I truly thought I was never going to finish it, but I did. The Voyager tells that story: the longest night of my life and the journey to finally getting some rest.

with Big Data

Neo-soul group whose music looks to bridge the gap between Maroon 5 and Stax Records. All Ages. **NOTE: All Orchestra seating is general admission. If you want reserved seating please choose Loge or Upper Balcony seating**

Nov 9

Nov 9

Doors open at 7:00 pm Starts at 8:00 pm All ages

Price: $27.50-$32.50

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Neo-soul group whose music looks to bridge the gap between Maroon 5 and Stax Records.

The Colorado jam-band notable for their blend of bluegrass, rock, jazz, and R&B influences finally returns to Ithaca. All Ages. Show starts at 8pm. Photo: C. Taylor Cruthers

Nov 10

Nov 10

Doors open at 7:00 pm Starts at 8:00 pm All ages

Price: $49.50

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Popular jam-band notable for their blend of bluegrass, rock, jazz, and R&B influences.

Southern rock jam band, formed in 1994 as a side project of The Allman Brothers Band by guitarist Warren Haynes and bassist Allen Woody.

Nov 15

Nov 15

Doors open at 7:00 pm Starts at 8:00 pm All ages

Price: $29.50-$39.50

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AUTHENTIC ROCK TORCHBEARERS GOV'T MULE RETURN WITH EPIC, STAR-STUDDED NEW STUDIO RECORDING SHOUT!
Double album is first release in four years and features ELVIS COSTELLO, DR. JOHN, BEN HARPER, TOOTS HIBBERT, GLENN HUGHES, JIM JAMES, MYLES KENNEDY, DAVE MATTHEWS, GRACE POTTER, VINTAGE TROUBLE'S TY TAYLOR AND STEVE WINWOOD

Few bands have a reputation for making music as consistently honest, organic and daring as Gov't Mule. Now the enduring group fronted by visionary singer-guitarist Warren Haynes returns with their first album in four years - their Blue Note Records debut Shout!, a breath-taking, exploratory double-disc set to be released on September 24.

"This album puts a spotlight on the songs and the way that we interpret them, which hinges on the unique chemistry we've developed as a band," explains Haynes, who along with Mule co-founder and drummer Matt Abts, multi-instrumentalist Danny Louis and bassist Jorgen Carlsson charted Shout!'s adventurous contours.

Shout!'s second disc shines a beam on a guest list of famed interpreters Elvis Costello, Dr. John, Ben Harper, Toots Hibbert, Glenn Hughes, Jim James, Myles Kennedy, Dave Matthews, Grace Potter, Vintage Trouble's Ty Taylor and Steve Winwood, who each delivered an alternate vocal performance of one of the first disc's new Gov't Mule tunes.

"No one's done this before, which is exciting," says Haynes, "but it's even more exciting actually listening to these artists sing our songs. Their performances bring new ideas, energy and sometimes even different meanings to every number."

Plus Shout! offers some of the most extraordinary playing in Gov't Mule's rich, sonically colorful history. And the album's incredible scope ranges from the suite-like epic "Bring On The Music" to the snarling punk rock anthem "Funny Little Tragedy" to the soul-reggae testifier "Scared To Live."

The inventive and incendiary musical performances throughout both discs spring from the jazz-like philosophy and creative language the Mule's members have developed together. They're the rare rock ‘n' roll group with an improvisational heartbeat, which allows all four musicians to expand on the songs' themes in non-formulaic ways. That quality distinguishes the finest jazz, blues and rock recordings of the '50s and '60s, but is largely absent in modern music.

On Shout! it's audible from the ground up - starting with the Technicolor propulsion of the Abts-Carlsson rhythm section. Their flexible interplay in the studio and on stage, where both musicians amp up their already aggressive, freewheeling approach to providing the sonic foundation of the band, is essential to Gov't Mule's reputation as a living, breathing ensemble. Drummer Abts has the courage and the chops to extrapolate with the other band members, pushing, pulling and accenting his rhythms as each performance evolves. And while Carlsson's bass always keeps its essential snarl, he's among the few players in modern rock that varies his tone and approach to best serve each song.

Although Louis' primary role in Gov't Mule is keyboardist, his guitar playing has expanded to the point where he often plays the instrument for a third of the band's live sets. On Shout! he steps even further into the role of Haynes' six-string foil, with their contrasting styles frequently adding yet another dimension to the album.

Several numbers were cut with Haynes and Louis simultaneously on guitar, including the romantic "Captured," which shares a shimmering ebb and flow with classic Neil Young & Crazy Horse.

Louis even takes the brash, ringing fret board solo on the Clash-inspired "Funny Little Tragedy." And he steps up his contributions as a background singer, adding vocal support to five songs.

And Haynes, of course, remains one of the most formidable guitarists and vocalists of the modern era, effortlessly cross-pollinating genres and unfurling solos that broil with passion in his distinctive, signature style.

No wonder fans of the Grammy nominated band have come to expect nothing less than the virtuosity, intelligence and breadth that propels Shout!.

Here's how Blue Note Records president Don Was, who's also a Grammy winning producer and performer, sums up Gov't Mule's place in contemporary music: "The Mule holds a unique and lofty berth. They have roots that run real deep - drawing from the entire history of rock ‘n' roll going all the way back to Robert Johnson and the Delta. Yet, despite their mastery of past idioms, they have managed to rearrange those elements into a whole new thing. So while the music they make is quite contemporary, I dare say they have deeper roots than other bands that are creating new music.

"According to the Blue Note manifesto written by our founder Alfred Lion back in 1939, our label is dedicated to the recording of ‘authentic music.' I don't know how much more authentic you can be than Gov't Mule! It's an honor to release their records on the Blue Note label. On this new album, they've elevated their songwriting, playing and production values to a whole new plateau. It's gonna blow people's minds!"

Add the word "again," because Gov't Mule have been blowing minds since their eponymous 1994 debut. That album found the band boldly transfusing new blood into old-school psychedelic blues-rock at a time when the genre was largely ignored. Gov't Mule's stylistic grasp has grown inexhaustibly since.

Fighting the trend in a declining music industry, the band's fan base, too, has steadily expanded over the course of 15 studio and live releases and thousands of performances - at first in small clubs and theaters, then at halls and major international festivals.

Today, Gov't Mule have become a human encyclopedia of great American music even while adding to that cannon. And through it all Haynes has served as not only the group's captain, but as a beacon of creativity and excellence that inspires fans and fellow musicians.

Parallel to his nearly two decades in the Mule, Haynes has been the six-string mainstay and a vocalist for the Allman Brothers Band and the Dead, and performed or recorded with a diverse array of other artists. In 2011 he made his second in-studio solo album, the aptly titled Man In Motion, which paid tribute to his blues roots and found Haynes experimenting with different guitar tones and effects not traditionally associated with Gov't Mule.

Shout! came to life in a Connecticut studio where the band initially regrouped to reignite their collective flame, and ended up cutting the bulk of the album, with Haynes, his bandmates and longtime Mule collaborator Gordie Johnson producing various cuts. Three songs - the reggae-based "World Boss," the psychedelic dreamscape "Whisper In Your Soul" and the blues-rocker "Done Got Wise" - were recorded at Jorgen Carlsson's Rogers Boat Studios in California, with Carlsson and studio co-owner Steve Holroyd engineering.

Paying tribute to the band's musical heroes became part of Shout!'s creative game plan. Haynes explains that the brawny "Bring On the Music" was written to celebrate the 40th anniversary of the break-up of the classic British blues-rock band Free.

Every note of "Bring On The Music" evokes Free's memorable style - especially Haynes' channeling of the band's fiery Les Paul guitar playing of the group's leader Paul Kossoff.

Another sinewy number, "How Could You Stoop So Low," is a nod to the 40th anniversary of the release of Sly & the Family Stone's influential album Fresh and was co-written by Haynes and Louis, whose rhythm guitar riff is the song's spine. The four-piece Mule was able to recreate Sly's nine-piece sound with the addition of backing singers Alecia Chakour and Nigel Hall from Haynes' solo-project band, and Louis' heavily funky keyboard lines.

Dr. John's grizzly, incantatory turn on the alternate version of the tune was the first guest vocal recorded, although the idea of assembling a cast of great singers to color the songs differently was indirectly inspired by Haynes' friend Elvis Costello. Early in the project Haynes wrote the snarling "Funny Little Tragedy," which reminded him of Costello's early music, and called Costello to ask him about the vocal mics used for his first albums. After the conversation, Haynes started thinking about how the song would sound if Costello sang it. As a result, he couldn't get Costello's voice out of his head and began thinking about pairing other vocalists with the set's other songs.

So Haynes made a list of Shout!'s titles and his top choices for singers, and their responses were overwhelming - a tribute to Haynes' and Gov't Mule's standing among their peers.

"Everyone in the band has such a wide variety of musical points of reference that a song can start in any style - from rock to blues to funk to R&B to reggae - and end up going to a completely different place.

"On Shout! every performance of each song stands on its own, but always sounds like us," he adds. "Even if it's a part of us that most people have never heard before."

In reflection, Haynes offers that Gov't Mule's journey has been full of surprises. "There's no way I could have anticipated the way we'd grow when we started," Haynes remarks. "Everyone in Gov't Mule brings their own personality to the music, and we're always looking for opportunities to expand and excite ourselves. Shout! is proof of that, as well as an album I could never have predicted we'd make even five years ago."

In 2000, when founding bassist Allen Woody passed away, Haynes and Abts discussed the possibility of putting Gov't Mule out to pasture. Instead the band went on to become part of the tradition they had always intended to honor.

"That," says Haynes, "is something we could only have dreamed to achieve and never expected in a million years."

A one-of-a-kind live black-light puppet show, John Tartaglia's ImaginOcean is a magical undersea adventure for kids of all ages.

Nov 16

Nov 16

Doors open at 1:00 pm Starts at 2:00 pm All ages

Price: $10-$15

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Tony-Award nominee John Tartaglia starred in the acclaimed musical Avenue Q, appeared on Broadway in Shrek The Musical and in Disney's Beauty and the Beast, and created and starred in The Playhouse Disney series ''Johnny and the Sprites.'' Now, he has grown some creative gills as well, with the production of John Tartaglia's ImaginOcean.

“A couple of times when I had my back to John onstage and he started to sing, I had this weird sense that it was Jerry.” – Bob Weir, Grateful Dead. All Ages. Show starts at 8pm.

Nov 17

Nov 17

Doors open at 6:30 pm Starts at 7:30 pm All ages

Price: $30-$32

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“As one who is classically trained, I actually always thought that DSO was very cool,
treating Grateful Dead music as repertoire- much as I've tried to do in my various bands.”
Phil Lesh, Grateful Dead

with Chris Koza

Nov 22

Nov 22

Doors open at 7:00 pm Starts at 8:00 pm All ages

Price: $25-$30

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In the past two years, Ingrid Michaelson -- who'll drop her fifth studio album, "Lights Out" (Cabin 24/Mom+Pop) on April 15 -- has vaulted from overachieving indie-pop sweetheart to a bona-fide pop star. Her last release, "Human Again," debuted at No. 5 on the Billboard album chart (plus No.1 on iTunes). 

This achievement merely crowned the considerable success Ingrid had already earned with her previous compositions: beautiful, idiosyncratic songs that have been prominently featured in popular films, television and on regular rotation in commercials. Her DIY approach to making music -- composing her own songs, co-releasing albums on her Cabin 24 imprint, building an organic following through music-licensing, and back in her MySpace days (where she was discovered in 2006), promoting herself -- was a slam-dunk. Now, it had evolved into a well-oiled machine, The New York Times even weighed in, declaring her songwriting "smart," her tunes "irresistible" and her live show "seamless." 

Then, says Ingrid, "Everything just came to a screeching halt." While helping out seriously ill relatives, her dog died. Soon after, Ingrid herself fell sick with serious stomach issues. "My whole throat was on fire for a few months. I had to stop writing," she says, of the time between April and August 2013. "I was so ill, I couldn't sing." After seeing countless doctors -- "like, three a day" at its worst -- she got better and was able to resume writing "Lights Out." For someone associated with crafting sunny tunes about escapism, a creative detour into dusk seemed almost inevitable. 

Technically, "Lights Out" refers to the two words uttered on Ingrid's tour bus when everyone's ready to call it a night. But given recent developments, it's become a metaphor for contemplating mortality and letting go -- themes more thoughtful than they are dark. The album builds into intensity, but is anchored by the swelling pop-affirmation "Time Machine" and the sweetly buoyant "Girls Chase Boys," which fits squarely into her existing catalog. "We thought of that song as the bridge for people. I'm still respecting what people want, but showing them what I can do," she explains, adding: "Some of the songs, like 'Over You,' are written to sound like relationship-y songs, but they're not."

The ethereal "Handsome Hands" is arguably "Lights Out"'s most left-of-center offering. "The song is about death, but it's also about the higher power," she explains. "In moments of desperation, even the most non-religious people pray. When you're pushed to your limits, you look for help from something other than yourself." Similarly, "Wonderful Unknown" is a positive, if beguiling narrative about the fears and uncertainties of growing old with your spouse, which she delivers in a lower register. An after-effect of her illness? "I don't think I've lost part of my voice," she explains, "but my voice has somewhat changed." 

Perhaps more dauntingly, "Lights Out" also marks Ingrid's entry into a brave new world of songwriting. Recorded in New York, Los Angeles, and Nashville, the album features six producers and ten co-writers, including singer-songwriters Katie Herzig and Trent Dabbs, as well as the very in-demand Busbee (Pink, Katy Perry, Lady Antebellum). "With every other record, I've always written all of the songs. I've worked with one producer. And we've stayed in one room," she says. "I've been such a control freak about my songs! But if you can get with the right person, there are ideas you could never come up with. It totally opens doors." 

And with opportunity comes meaningful change. "It's funny. It doesn't even feel like I wrote 'The Way I Am,'" Ingrid says of her platinum break-out single, recorded seven year ago. "It's a memory." She'll continue to perform it live as she tours "Lights Out" -- just stripped-down, recasting the flittering ditty into something weightier. "It feels like a little girl wrote that song. So much has happened to me in life."

 

with Special Guests Donna the Buffalo

Dec 5

Dec 5

Doors open at 7:00 pm Starts at 8:00 pm All ages

Price: $25-$35

Event Information

DSP

From their days playing together as teenagers to their current acoustic and electric blues, probably no one has more consistently led American music for the last 50 years — yes! — than Jorma Kaukonen and Jack Casady, the founders and continuing core members of Hot Tuna.
The pair began playing together while growing up in the Washington D.C. area, where Jack’s father was a dentist and Jorma’s father a State Department official. Four years younger, Jack continued in junior high, then high school — while playing professional gigs as lead guitarist at night before he was old enough to drive — while Jorma (who had played rhythm guitar to Jack’s lead) started college in Ohio, accompanied his family overseas, then returned to college, this time in California.
Along the way, Jorma became enamored of, then committed to, the finger-picking guitar style exemplified by the now-legendary Rev. Gary Davis. Jack, meanwhile, had taken an interest in the electric bass, at the time a controversial instrument in blues, jazz, and folk circles.
In the mid 1960s, Jorma was asked to audition to play guitar for a new band that was forming in San Francisco. Though an acoustic player at heart, he grew interested in the electronic gadgetry that was beginning to make an appearance in the popular music scene — particularly in a primitive processor brought to the audition by a fellow named Ken Kesey — and decided to join that band; soon thereafter he summoned his young friend from Washington, who now played the bass.
Thus was created the unique (then and now) sound that was The Jefferson Airplane. Jorma even contributed the band’s name, drawn from a nickname a friend had for the blues-playing Jorma. Jack’s experience as a lead guitarist led to a style of bass playing which took the instrument far beyond its traditional role.
While in The Jefferson Airplane, putting together the soundtrack of the 60s, the pair remained loyal to the blues, jazz, bluegrass, and folk influences of the small clubs and larger venues they had learned from years before. While in San Francisco and even in hotel rooms on the road, they would play together and worked up a set of songs that they would often play at clubs in the Bay Area and while on the road, often after having played a set with the Airplane. This led to a record contract; in fact, they had an album recorded before they decided to name their band Hot Tuna. With it they launched on an odyssey which has itself continued for more than 35 years, always finding new and interesting turns in its path forward.
The first thing an early Hot Tuna fans discovered at their concerts of the early 1970s was that the band was growing louder and louder. In an era in which volume often overtrumped musicianship, Hot Tuna provided both. The second thing a fan would discover was that Jack and Jorma really loved to play. “Look around for another band that plays uninterrupted three- to six-hour sets,” wrote reviewer Jerry Moore. What Moore could not have known was that had there been no audience at all, they would have played just as long and just as well, so devoted were they to making music. Of course, the audience wasn’t superfluous by any means; it energized and continues to energize their performances. Album followed album — more than two dozen in all, not counting solo efforts, side projects, and appearances on the albums of other bands and performers — and they continued to develop their interests and styles, both together and in individual pursuits. In an era in which old bands reunite for one last tour, Hot Tuna can’t because Hot Tuna never broke up.
Along the way, they have been joined by a succession of talented musicians: Drummers, harmonica players, keyboardists, backup singers, violinists, mandolinists, and more, all fitting in to Jorma and Jack’s current place in the musical spectrum. And along the way there was no list of outstanding guitarists that didn’t include Jorma, nor was there anyone who seriously thought there is a better bass player than Jack.
After two decades of acoustic and electric concerts and albums, the 1990s brought a new focus on acoustic music to Hot Tuna. More intimate venues with a more individual connection to the audience became increasingly frequent stops. Soon, the loud electric sound (and the semi trailer load of equipment) disappeared entirely from Hot Tuna tours. Maturity brought the desire to do things not instead of but in addition to being a touring band. Both had become interested in teaching, passing along what they had learned and what they had uniquely developed to a new generation of players.
In 1998 Jorma and his wife Vanessa opened Fur Peace Ranch Guitar Camp, in the beautiful rolling Appalachian foothills of southeastern Ohio.
Here, on a sprawling and rustic yet modern campus, musicians and would-be musicians come for intensive and enjoyable workshops taught by Jorma, Jack, and other extraordinary players, learning things that range from different styles of playing to songwriting and even storytelling (the musician in performance has to say something while changing that broken string!), to making a song one’s own.
In addition, there is now BreakDownWay.com, a unique interactive teaching site that comes closest of anything yet to make individual instruction available to students anywhere there is a computer and an Internet connection.
But the teaching doesn’t replace Hot Tuna’s busy tour schedule; it’s in addition to the tours. Nor have they lighened up their individual schedules. Jack released his first solo CD, Dream Factor, on Eagle Records in 2003. He has a busy and elaborate website at jackcasady.com. Jorma has a website, too, and achieved enormous critical acclaim and a Grammy nomination for his 2003 solo album, Blue Country Heart. (Both are in the Rock and Roll Hall of Fame due to their pioneering work in The Jefferson Airplane.) As 2006 began, they launched another exciting website, Hot Tuna Tunes, where fans may inexpensively download professionally made recordings of full Hot Tuna concerts in both MP3 and lossless encodings, suitable for portable player and home-burned CDs respectively. Hot Tuna Tunes is added to all the time, so it’s almost as if Hot Tuna were releasing numerous live concert albums every year. Collect the entire set!
For the last few years, Jorma and Jack have been joined in most of their Hot Tuna performances by the mandolin virtuoso Barry Mitterhoff. A veteran of bluegrass, Celtic, folk, and rock-influenced bands including “Tony Trischka and Skyline” and “Bottle Hill,” Barry has found a new voice in working with Hot Tuna, and the fit has been good — watching them play, it’s as if he’s been there from the beginning and they’re all having the time of their lives.
Jorma and Jack certainly could not have imagined, let alone predicted, where playing would take them. It’s been a long and fascinating road to numerous exciting destinations. Two things have never changed: They still love to play as much as they did as kids in Washington D.C., and there are still many, many exciting miles yet to travel on their musical odyssey.

“1964: The Tribute” takes their audiences on a musical journey to an era in rock history that will live in all of our hearts forever. All Ages.

Dec 6

Dec 6

Doors open at 7:00 pm Starts at 8:00 pm All ages

Price: $19.50-$36.50

Event Information

Since the early 80's, “1964”…The Tribute has been thrilling audiences all over the globe with what Rolling Stone Magazine has called the “Best Beatles Tribute on Earth ”.

“1964” …The Tribute takes their audiences on a musical journey to an era in rock history that will live in all of our hearts forever. They are hailed by critics and fans alike as the most authentic and endearing Beatles tribute in the world.

Choosing songs from the pre-Sgt. Pepper era, “1964” astonishingly recreates an early 60’s live Beatles concert, with period instruments, clothing, hairstyles, and onstage banter.

Over 25 years of researching and performing have made “1964” masters of their craft.

Come see why “1964”…The Tribute is the definitive Beatle show!

Dec 7

Dec 7

Doors open at 2:30 pm Starts at 3:00 pm All ages

Price: $5

SPECIAL VIP PACKAGE ($50.00): includes a Gold Circle Reserved Seat, VIP laminate/lanyard, and priority Meet & Greet after the show.

Dec 7

Dec 7

Doors open at 7:00 pm Starts at 8:00 pm All ages

Price: $26.50-$50

Event Information

Voted one of Variety’s “10 Comics to Watch,” Ralphie May has released, a record-setting, four one-hour comedy specials and will be releasing two more this year, proving that his relatable comedic genius is in higher demand than ever. In addition, he recently released a vintage comedy album recorded in Houston in 1998 and his new line of barbecue sauce called “Fat Baby Jesus.” Lovable enough to get away with anything, Ralphie continues to capture the hearts of thousands on his sold out tours and promises to make you gleefully uncomfortable.
Since his debut on season one of “Last Comic Standing,” audiences can’t get enough of the larger than life comedian. Ralphie has a proven track record of selling out multiple shows in venues of all sizes. He has a no nonsense point of view and the ability to connect with a diverse audience by pointing out society’s hypocrisies. Ralphie doesn’t shy away from touchy topics or ethnic jokes, nor does he bite his tongue when society suggests, because he sincerely believes that as long as what he’s saying is true, people need to hear it.
Born on February 17, 1972 in Chattanooga, Tennessee and raised in Clarksville, Arkansas, Ralphie was one of four kids raised by his single mom. At the age of seventeen he won a contest to open for his idol, Sam Kinison. He later moved to Houston to develop his comedy routine, at Kinison’s suggestion. “All the comics I’ve ever admired, whether it be Kinison, Lenny Bruce, Buddy Hackett or Richard Pryor, all share a commonality,” says May. “They’re a tour de force. When they speak, there’s no room for rebuttal. They’ve thought it all out. Even the pros and cons of their argument, they raise openly and debate in the midst of their conversation and it’s a beautiful thing to watch.”
On the small screen, Ralphie has worked as a writer and producer on ESPN's “Mohr Sports” starring Jay Mohr and performed stand-up on numerous late night talk shows including four appearances on CBS's “The Late Late Show w/ Craig Kilborn” as well as eleven appearances on “Jimmy Kimmel Live.” He has appeared on “The Man Show” and MTV’s “Bash” as well as guest-starred on NBC’s “Whoopie.” As if that’s not enough, he’s also one of a handful of comedians to have received a standing ovation on “The Tonight Show w/ Jay Leno.”
When he’s not on the road, Ralphie divides his time between Nashville and Los Angeles with his beautiful wife Lahna, their wonderful dog Hoochie Mama, and their two children, April June May and August James May. He contributes much of his time and energy to helping others. Since establishing a residence in Nashville, he has been actively involved with the 100 Club of Nashville, various youth organizations and the Humane Society.

Ithaca Ballet’s Nutcracker is a treat for the whole family and an Ithaca tradition. Children of all ages will delight in Clara's victory over the mice and her voyage to the Land of Sweets.

Dec 12

Dec 12

Doors open at 6:30 pm Starts at 7:30 pm All ages

Price: $12-$22

Event Information

The Nutcracker
Choreographed by Lavinia Reid, music by Tchaikovsky

December 12, 7:30 p.m.
December 13 at 3 p.m.
December 14 at 3 p.m.


Ithaca Ballet’s Nutcracker is a treat for the whole family and an Ithaca tradition. Children of all ages will delight in Clara's victory over the mice and her voyage to the Land of Sweets.

Ithaca Ballet’s Nutcracker is a treat for the whole family and an Ithaca tradition. Children of all ages will delight in Clara's victory over the mice and her voyage to the Land of Sweets.

Dec 13

Dec 13

Doors open at 2:00 pm Starts at 3:00 pm All ages

Price: $10-$20

Event Information

The Nutcracker
Choreographed by Lavinia Reid, music by Tchaikovsky

December 12, 7:30 p.m.
December 13 at 3 p.m.
December 14 at 3 p.m.


Ithaca Ballet’s Nutcracker is a treat for the whole family and an Ithaca tradition. Children of all ages will delight in Clara's victory over the mice and her voyage to the Land of Sweets.

Ithaca Ballet’s Nutcracker is a treat for the whole family and an Ithaca tradition. Children of all ages will delight in Clara's victory over the mice and her voyage to the Land of Sweets.

Dec 14

Dec 14

Doors open at 2:00 pm Starts at 3:00 pm All ages

Price: $10-$20

Event Information

The Nutcracker
Choreographed by Lavinia Reid, music by Tchaikovsky

December 12, 7:30 p.m.
December 13 at 3 p.m.
December 14 at 3 p.m.


Ithaca Ballet’s Nutcracker is a treat for the whole family and an Ithaca tradition. Children of all ages will delight in Clara's victory over the mice and her voyage to the Land of Sweets.

This 5th anniversary festival will feature The Traveling McCourys, the renowned fiddler Darol Anger’s new band Mr. Sun with Tony Trischka joining them on the banjo, and guitarist/singer Michael Daves joined by fiddler Brittany Haas.

Jan 24

Jan 24

Doors open at 7:00 pm Starts at 8:00 pm All ages

Price: $19.50-$85

Event Information

This 5th anniversary festival will feature The Travelin Mccourys, the renowned fiddler Darol Anger’s new band Mr. Sun with Tony Trischka joining them on the banjo, and guitarist/singer Michael Daves joined by fiddler Brittany Haas. All three headliners will be performing at the historic State Theatre on Saturday evening. More information to come soon!!

LIVE on stage! With every swing and flip, George takes the audience through a fun-filled adventure in which he learns about Rome…and meatballs…and the “secret ingredient” to cooking, than he'd ever imagined!

Jan 25

Jan 25

Doors open at 2:00 pm Starts at 3:00 pm All ages

Price: $10-$15

Ira Glass is the host and creator of the public radio program This American Life. The show premiered on Chicago's public radio station WBEZ in 1995 and is now heard on more than 500 public radio stations each week by over 1.7 million listeners. 8p Showtime

Feb 14

Feb 14

Doors open at 7:00 pm Starts at 8:00 pm All ages

Price: $39.50-$69.50

Event Information

Ira Glass is the host and creator of the public radio program This American Life. The show premiered on Chicago’s public radio station WBEZ in 1995 and is now heard on more than 500 public radio stations each week by over 1.7 million listeners. Most weeks, the podcast of the program is the most popular podcast in America. The show also airs each week on the CBC in Canada and on the Australian Broadcasting Corporation’s radio network.

Glass began his career as an intern at National Public Radio’s network headquarters in Washington, DC in 1978, when he was 19 years old. Over the years, he worked on nearly every NPR network news program and held virtually every production job in NPR’s Washington headquarters. He has been a tape cutter, newscast writer, desk assistant, editor, and producer. He has filled in as host of Talk of the Nation and Weekend All Things Considered.

Under Glass’s editorial direction, This American Life has won the highest honors for broadcasting and journalistic excellence, including several Peabody and DuPont-Columbia awards. The American Journalism Review declared that the show is “at the vanguard of a journalistic revolution.”

A television adaptation of This Ameri-
can Life ran on the Showtime network for two seasons, in 2007 and 2008, winning three Emmy awards, including Outstanding Nonfiction Series. The show has put out its own comic book, three greatest hits compilations, DVDs of live shows and other events, a “radio decoder” toy, temporary tattoos and a paint-by-numbers set. Half a dozen stories are in development to become feature films. In 2013 Ira Glass received the Medal for Spoken Language from the American Academy of Arts & Letters.

Glass is married and owns a disturbingly allergic dog

One of America’s foremost comediennes continues to venture across an ever-widening range of media, starring in television, theater, motion pictures, animation and video. *Please note that this performance has been rescheduled for March 5, 2015 at 8:00pm.*

Mar 5

Mar 5

Doors open at 7:00 pm Starts at 8:00 pm All ages

Price: $49.50-$69.50

Event Information

PLEASE NOTE THAT THIS PERFORMANCE HAS BEEN RECHEDULED FOR MARCH 5, 2015. ALL TICKETS WILL BE HONORED.



DSP

Lily Tomlin is an award-winning star of stage and screen, known especially for comedic performances going back to her days on TV's Laugh-In in the early 1970s. She grew up in Detroit, but went to New York in 1965 to be a performer. Tomlin became a regular cast member of the comedy sketch show Laugh-In in late 1969, and soon became one of the most popular players, thanks to recurring characters such as Ernestine the telephone operator and Edith Ann, a sagacious five year-old. Tomlin left the show in 1973, having released two successful comedy records of her own, the Grammy-winning This Is A Recording (1971) and the Grammy-nominated And That's The Truth (1972, as Edith Ann). She's had a stellar career, one that includes an Oscar nomination for her performance in Robert Altman's Nashville (1975), as well as hit films such as The Late Show (1977), Nine to Five (1980, with Jane Fonda and Dolly Parton) and Flirting With Disaster (1996, starring Ben Stiller). She's won Emmys for writing TV specials in 1974, 1976, 1978 and 1981, and been a regular cast member on Murphy Brown (1996-98), The West Wing (2002-06), Damages (2010, the third season) and Desperate Housewives (2008-09). Her one-woman Broadway show in 1977, Appearing Nitely, earned a special Tony award, and she won another Tony for her performance in The Search for Signs of Intelligent Life in the Universe, a 1985 one-woman show co-written with her longtime life and writing partner, Jane Wagner. A frequent stage performer who pops up in small TV and film roles, Tomlin is also a 2003 recipient of the Mark Twain Prize for American Humor.

The Golden Dragons are recognized throughout the United States and abroad as the premiere Chinese acrobatic touring company of today. All Ages.

Mar 7

Mar 7

Doors open at 2:00 pm Starts at 3:00 pm All ages

Price: $19.50-$29.50

Event Information

Danny Chang and his Golden Dragon Acrobats continue their relentless, 30+ year US touring schedule of centuries-old Chinese art form. Since 1985, they remain the only Chinese acrobatic company touring year-round in the United States, and present over 200 performances annually. In 2005, their Broadway debut and seven-week run at the New Victory Theater earned two prestigious New York Drama Desk Awards nominations (Angela Chang for Best Choreography and Danny Chang for Most Unique Theatrical Experience).

Answering the new market demand from US presenters, producer Danny Chang restructured the Golden Dragon Acrobats in 1998 to form Asian Artists Productions, Inc. or AAPI. While the new company continued to produce and tour the Golden Dragon Acrobats, AAIP expanded to create theatrically elaborate, resident-shows like Circo Magnifico, Dream, Pagoda, Cirque D’or and others, each for a specific US market.

"Cirque Zíva" is newest touring group from AAIP. The large cast and spectacular set designs illustrate the best of Chang's brand of artistic merit, high production value, and solid commitment to cultural exchange. Of special note is Cirque Zíva Lighting Director Tony Tucci, the recipient of two B. Iden Payne Awards and Critics Table awards for lighting, with credits including the video “Baryshnikov, Dancer and The Dance” and 1996 Summer Olympics Cultural Olympiad showcase. Zíva was created in 2011 for a 10-week engagement at Asbury Park Boardwalk’s Paramount Theatre, the first-ever summer run held at the venue in its more than 80-year history. An instant success in Asbury Park, earning critical acclaim and packed houses, the show burst onto the US performing arts circuit with a 55-city, 20-week premiere tour in 2013, and encore tour winter/spring 2014.

This is a one of a kind, family-oriented blend of NONSTOP unique physical comedy, juggling, acrobatics and balancing skills of internationally acclaimed award winner Gregory Popovich.

Apr 12

Apr 12

Doors open at 5:00 pm Starts at 6:00 pm All ages

Price: $12.50-$24.50

Event Information

The World Famous Popovich Comedy Pet Theater is a family-oriented blend of the unique comedy and juggling skills of Gregory Popovich, and the extraordinary talents of his performing pets.

Each of the show's 15 cats and 10 dogs were once strays, rescued from animal shelters.

Now, they love to show off onstage - by performing a variety of stunts and skits!

Audiences will be delighted to see this extravaganza of European-style clowns, amazing juggling and balancing acts, and of course, very talented performing pets. It's a show that both adults and kids of all ages enjoy!

Gregory Popovich, winner of many international circus competitions, and hi furry friends, buring their Comedy Pet Theater to Las Vegas after a world tour of more than 20 countries!

Apr 25

Apr 25

Doors open at 1:30 pm Starts at 2:30 pm All ages

Price: $10-$15

Apr 25

Apr 25

Doors open at 6:30 pm Starts at 7:30 pm All ages

Price: $10-$15

With a dragon who’s lost his poof, a neurotic gypsy woman and a magical cast of characters, this hilarious twist on the classic fairy tale will delight princes and princesses of all ages.

May 9

May 9

Doors open at 1:00 pm Starts at 2:00 pm All ages

Price: $8-$12

Event Information

Let your hair down in this charming new musical by Janet Yates Vogt and Mark Friedman (How I Became A Pirate). The evil enchantress Lady Za Za has banished Princess Rapunzel to the deep, dark, dank, dismal, dreary forest in an effort to rule the kingdom herself. It is up to handsome Sir Roderick and his hairdressing side-kick Edgar to restore the kingdom as they also search for true love and a perfect head of hair. Will they find everything they are looking for in Princess Rapunzel? With a dragon who’s lost his poof, a neurotic gypsy woman and a magical cast of characters, this hilarious twist on the classic fairy tale will delight princes and princesses of all ages.

Want more? Check out our Past Events page for a list of older events.

107 West State Street
(607) 277-8283
Ithaca, NY 14850

Box Office Hours: Tues-Fri 10am-5pm, Sat 11am-4pm

On show days the Box Office will be open 2 hours before advertised door time in addition to our normal hours.

State Theatre of Ithaca Inc. is a 501(c)3 not-for-profit organization that owns and operates Tompkins County’s last remaining historic theatre. Our mission is to enhance the cultural life of Ithaca and the Finger Lakes by preserving, operating and promoting the historic State Theatre as an active venue for national, international and community performances and programming.