And the winners are . . .
Best Actor
WINNER
Thomas Warfield
FINALISTS
Kiefer Schenk | Carl Del Buono | MJ Savastano
Best Art Gallery
WINNER
Memorial Art Gallery
FINALISTS
Rochester Contemporary Art Center (RoCo) | George Eastman Museum | ARTISANworks
Best Artist
WINNER
Shawn Dunwoody
FINALISTS
Susan Pullman Brooks | Magnus Apollo | Doug Mac
Best Original Band
WINNER
Joywave
FINALISTS
Cool Club & the Lipker Sisters | Only Shallow | Personal Blend
Best Cover or Tribute Band
WINNER
Seven Wonders
FINALISTS
Hey Mabel | BB Dang | Disintegration
Best Vocalist
WINNER
Danielle Ponder
FINALISTS
Teagan Ward | Sarah Gebbie | Katie Mangiamele
Best DJ
WINNER
DJ Mighty Mic
FINALISTS
DJ Chreath | DJ Darkwave | Brian Bartlett
Best Photographer
WINNER
Aaron Winters
FINALISTS
Jim Montanus | Will Cornfield | Louis Ressel
Best Comedian/Comedy Troupe
WINNER
Shirelle Kinder
FINALISTS
Dario Joseph | Chris Thompson | Todd Youngman
Best Dance Company
WINNER
Garth Fagan Dance
FINALISTS
Rochester City Ballet | PUSH Physical Theatre | Borinquen Dance Theatre
Best Arts Event
WINNER
Rochester Fringe Festival
FINALISTS
Clothesline Festival | Corn Hill Arts Festival | Rochester International Jazz Festival
Best Drag Performer
WINNER
Kyla Minx
FINALISTS
Darienne Lake | Aggy Dune | Mrs. Kasha Davis
Best Live Music Venue (500+ Capacity)
WINNER
CMAC
FINALISTS
Kodak Hall at Eastman Theater | Essex | Water Street Music Hall
Best Live Music Venue (500 & under)
WINNER
Abilene
FINALISTS
Bug Jar | Iron Smoke Distillery | Photo City Music Hall
Best Mural or Public Art Exhibit (2023)
WINNER
Cobbs Hill Water Tower Graffiti
FINALISTS
“Monuments” by Craig Walsh at Rochester Fringe | MAG Centennial Sculpture Park | Flour Pail Kids mural at Ugly Duck Coffee
Best Museum
WINNER
Strong National Museum of Play
FINALIST
George Eastman House | Memorial Art Gallery | Rochester Museum and Science Center
Best Festival
WINNER
Lilac Festival
FINALISTS
Rochester Fringe Festival | Rochester International Jazz Festival | Corn Hill Arts Festival
Best Published Literary Work of 2023
WINNER
“Day Trips Around Rochester” by Debi Bower
FINALISTS
“In This Moment” Chapbook Series by Visual Studies Workshop | “The Savvy Ally” by Jeannie Gainsburg
Best Professional Theater Company
WINNER
Geva Theatre Center
FINALISTS
Blackfriars Theatre | OFC Creations | JCC CenterStage
Best Community Theater Company
WINNER
The Avenue Blackbox Theatre
FINALISTS
The Company Theatre | Nickel Flour | Pittsford Musicals
CRITICS’ PICKS By Sydney Burrows, Daniel J. Kushner, Matt Passantino, Rebecca Rafferty, Katherine Varga
Greatest proud-to-be-a-Rochesterian moment: Danielle Ponder on “Jimmy Kimmel Live!”
For the past four years, soul musician Danielle Ponder has gone from milestone to milestone. Her widespread notoriety began in 2020 as a featured contestant in NPR’s Tiny Desk Contest and additional NPR features followed — as did prestigious gigs at The Hollywood Bowl, Newport Jazz Festival and Newport Folk Festival, and eventually TV appearances on “Late Night with Seth Meyers” and a song featured on the soap opera “General Hospital.”
But it was her performance on “Jimmy Kimmel Live!” in Los Angeles last January that represented Ponder at the pinnacle of her power to this point. She sang “Someone Like You,” arguably the strongest, most memorable song from her album “Some of Us Are Brave.” Her spellbinding delivery and versatile tone all announced a musician poised to be a household name for years to come.
As one of those watching from home in Rochester, it was gratifying to see a native of the city command the national stage as if to say, “I belong here.” The TV spot was both a major coup for the singer and a triumph for the Rochester community, which rarely gets national attention for something positive. It seemed, at that moment, Ponder’s voice had never sounded more electric as she wailed with unmatched passion and held a vibrant east coast community on her shoulders.
Ponder has long been a major force in the local music scene. Now, she’s a national artist with widespread recognition. There’s no telling where she goes from here. —DANIEL J. KUSHNER
Best throwback screening of 2023: ‘Goodfellas’
How lucky are we to live in a city where we can see classic movies and hidden gems in a movie theater? There’s no shortage of opportunities throughout Rochester, but when there was a chance this past February to see Martin Scorsese’s “Goodfellas,” one of my favorite movies ever made, I immediately seized the opportunity. “Goodfellas,” for all of its signature Scorsese violence and tension, is just a fun movie.
Watching Ray Liotta’s Henry Hill work his way through the mafia is frightening, entertaining, funny and thrilling — Scorsese effortlessly captures all these emotions with ease. To watch Hill’s story unfold in a theater made signature moments come to life in ways they hadn’t for me before. The obvious example is the famed Copacabana one-take shot, where Hill and his soon-to-be-wife Karen (Lorraine Bracco) begin outside and make their way into the club without a cut, which allows Scorsese’s brilliance to be on full display.
Even smaller moments held new resonance, like Tommy DeVito’s (Joe Pesci) “How am I funny?” scene when a bunch of guys are sitting around a bar just talking and the tension quickly escalates. Pesci’s characterization of DeVito is as funny as it is frightening — much like most of “Goodfellas” — and the moment where he has everyone on edge made me hold my breath like I had never seen the movie before. His presence loomed large over me from the screen, a reminder why Pesci’s character is one of cinema’s scariest. —MATT PASSANTINO
Most unexpected band to break onto the scene: Wovenhome
Folk and hip-hop are not two musical genres one would expect to mesh. And on its face, that mash-up doesn’t feel like a natural fit with stylistic influences as far-flung as Africa, South America and New York City. But with this melting pot of sounds, the quartet Wovenhome defies categorization and surpasses expectation. On its debut recording “Waving Trees,” the band with roots in both Rochester and Popayán, Columbia weaves indelible grooves around hypnotic, harp-like hooks and smooth vocal harmonies.
Wovenhome’s leaders, Hayley Dayis and Alexander Fals, are gifted visual artists as well as musicians — in both mediums, they combine earthy subject matter with lighthearted, free-flowing skill. Listeners are unlikely to come across another Rochester band that features the West African string instrument known as the ngoni, which lends authenticity to Wovenhome’s global folk bonafides. Dayis and Fals are bolstered by the understated musicianship of bassist Shaun Jones and drummer-rapper Gary Lamaar.
The rhythm section’s mesmerizing push-and-pull is in full effect on the alluring “Totumo” and the unexpected instrumental track “Sunrise on Mt. Abe,” which features Jones playing one of his handmade mouth harps (more on this in another critic’s pick).
As fresh as Wovenhome’s music sounds, the band is similarly new. It’s hard to say where the music will go moving forward, but as a first impression, it doesn’t get much better. Compared to other local acts, Wovenhome is sometimes below the radar, but listeners who stay tuned in with heightened vigilance will be rewarded. —DANIEL J. KUSHNER
Most memorable movie-going experience: ‘Barbenheimer’
Eulogies for the movie industry and the theatrical experience have been written in many forms throughout the years. The industry has struggled to rebound in a post-2020 world and there have been glimmers of hope, but never any sort of consistency that signaled a healthy theatrical marketplace. This past summer, the unlikely alliance of J. Robert Oppenheimer and Barbie proved one thing: if you build it, they will come.
“Oppenheimer” and “Barbie” both showed people still want the communal experience of going to the movies, and when given the option to watch bold, fresh, thrilling movies, they will make time to go.
The success of both films was propelled by the ‘Barbenheimer’ meme, which can’t be replicated (even though studio heads will desperately try), and it made people feel like they couldn’t wait for streaming options. Over the past year, Rochester has seen several of its theaters close. ‘Barbenheimer’ filled just about every theater in Rochester with attendees in costumes, ready to be a part of something. It was the first time since 2020 moviegoing felt like the communal event it once was and gave hope for what it still could be.
We need movie theaters to survive, because we need places to escape, find new worlds, and live lives that aren’t our own. Leaving the stress of every day life at the theater’s front door is one of the most important reasons for going to the movies. ‘Barbenheimer’ may never be repeated, but it was a reminder of why we go to the movies and encouragement for all to keep going. —MATT PASSANTINO
Best space for up-and-coming dancers: MuCCC
The Multi-use Community Cultural Center (MuCCC) in the Neighborhood of the Arts is a gem of a theater for Rochester’s performing artists. While MuCCC is most commonly known for its presentations of local theater troupes, it’s also a great location for dance performances. The small building that is home to MuCCC was originally a church, built in 1887. The enchanting space was renovated extensively in 2009 and now features an intimate, accessible 80-seat black box theater.
Founded by local arts cornerstone Doug Rice, the organization is run by volunteers and offers low-cost shows, bringing affordable art to the community. The center focuses on bringing in performers working in experiential art, which allows attendees to experience styles of theater and dance that they may not see elsewhere. MuCCC serves artists as well as audiences, giving those who aren’t frequently on the big stages a unique chance to present their work.
In addition to being home base for Rochester’s oldest community theater group—the Rochester Community Players—MuCCC has presented over 800 different shows since its creation, including an annual dance showcase, “Dances at MuCCC,” which features short works by many Rochester-based choreographers. The show gives audiences a chance to see snippets of different styles while allowing performers an opportunity to be seen by those outside of their immediate arts communities. In a first this year, the curated collection of dances was included in the Rochester Fringe Festival, bringing even more viewers to the space. For local performing artists who are looking to present their creations, MuCCC offers a welcoming path to the stage. —SYDNEY BURROWS
Most prominent music influencer from Rochester: Rick Beato
For music nerds who love popular music from the 1960s onward, no person is more authoritative on the subject than musician and YouTuber Rick Beato. While he’s well known to 3.8 million YouTube subscribers for his expertise on the history, music theory, and production behind pop’s most memorable songs, a lesser-known fact is his origin as a member of a musical family from a Rochester suburb.
Beato attended Fairport High School and Ithaca College before settling in Georgia and becoming a successful studio engineer and producer. His place in pop culture was secured with the success of his YouTube Channel, which he calls “Everything Music.” On the channel, viewers can find Beato listening to, playing excerpts from, and analyzing everything from classic rock hits to current viral songs on TikTok. Since 2006, he has posted more than 1,200 videos which regularly garner hundreds of thousands of views.
Beato draws on his knowledge and experience as a classical, jazz, and rock musician in his popular video series “What Makes This Song Great?” and his Top 20 Countdowns highlighting specific instruments, styles and songs. His most popular video is “Top 20 Acoustic Guitar Intros of All Time,” with more than 19 million views. He’s also interviewed such living music legends as Brian May, Pat Metheny, Peter Frampton, Keith Jarrett, Victor Wooten, and Rochester’s own Steve Gadd.
If you’re into music, you should know Rick Beato, and you should know he got his start in the Rochester scene. —DANIEL J. KUSHNER
Least stressful performing arts parking lot: JCC CenterStage
The curtain closes and the anxiety begins. Do you get up now, so you’re the first to leave the theater and, therefore, the parking lot? Or do you stay for final bows, give the actors their much-deserved applause, and then spend the next half hour inching your way out of a congested lot, praying you won’t end the night in a fender bender, trying to forget that you (maybe) paid an extra fee for the privilege of parking? If this resonates with you, or if you’ve ever had a minor panic attack trying to find parking before a show, then you know the beauty of a performing arts venue with a large, free lot. The Jewish Community Center’s CenterStage productions have the benefit of the entire JCC parking lot, which is spacious and doesn’t charge one of those “special event” fees the nights of shows. Even when it’s crowded, this critic has never had a problem finding a spot within eyesight of the building. While some post-show traffic is inevitable, the lot is spread out enough that you don’t feel cramped and claustrophobic. (East Avenue Wegmans should take notes). This makes it a stress-free place to go to see a CenterStage play, Rochester Fringe performance, or other cultural events, such their Jewish Book Festival. As an added bonus: this venue has the good fortune to be situated along the lovely Erie Canal bike trail, offering a more pleasant alternative to driving. And, of course, there are bike racks as well. —KATHERINE VARGA
Most impactful post-show talkbacks: The Avenue Blackbox
Many theaters offer post-show talkbacks to enhance audience engagement, but few knock them out of the park as consistently as the Avenue Blackbox, now in its fifth season. As a Black- and queer-led space, this theater prioritizes plays written by Black playwrights, especially ones with stories and themes that resonate with communities around its location at 780 Joseph Avenue. Productions are collaborations between experienced theater artists and local youth (ages 22 and younger), giving many young people who may not otherwise have an arts education the opportunity to make theater.
Informal and friendly, the talkbacks allow artists and audiences alike to stay in the space and reflect after the performance. Previous talkbacks have been led by community leaders including Dr. Jeffrey McCune (director of the Frederick Douglass Institute at the University of Rochester), Dr. Tokeya Graham (educator and founder of Soulstainable Living LLC), and Christopher Coles (who also goes by Bakari Poet). These informed mediators offer thoughtful perspectives, but more importantly, they create space for Rochester youth to express themselves apart from the characters they’ve been playing. Audiences are also encouraged to respond with personal reflections and testimonies.
“Those are important stories for us all to be able to connect to, especially as we’re looking to use the arts as an agent of change,” said the Avenue’s founding artistic director Reenah Golden. “We really need to hear from each other and not think we know every story that’s out there.” Full of honest insights, humor, and heart, these talkbacks allow the Avenue to put the “community” in “community theater.” —KATHERINE VARGA
Best dance festival: MAD Weekend at Nazareth University
The city of Rochester is known for its numerous festivals, and Nazareth University has added dance to that list with its annual “MAD Weekend.” The weekend, an acronym for ‘movement and dance,’ is open to the public as well as Nazareth students and packed full of workshops, panels, and performances with local dance groups and choreographers from outside cities. At $5 per class, the weekend is incredibly affordable and offers the dance community a chance to train with artists of all styles.
This year, the weekend featured the Boston-based contemporary dance repertory company Boston Dance Theater. The company presented a piece in the MAD Showcase and hosted a lecture-demonstration, giving attendees insight into the choreographic process of a professional dance company. Other classes offered at MAD ranged from Indian Dancing to Partnering to Contact Improvisation with other artists such as 32nd Pack Dance, who traveled from New York City to collaborate and connect with Rochester dancers. MAD Weekend culminates in a showcase in the stunning Arts Center on Nazareth’s campus, and the program includes pieces from many artists who participated in workshops and discussions throughout the festival.
By featuring different styles of dance created by artists from all over, the performance allows audiences to experience a nice range of works. This year, soloists, duets, and groups performed Irish, tap, and contemporary dance pieces. With its inclusion of introductory to advanced classes and chances to watch talented performing artists and hear from creative choreographers, the weekend is a wonderful offering for non-dancers and dancers alike. —SYDNEY BURROWS
Most practical artistic vision: Carlos Castellanos
It’s not uncommon for artists to make klaxon-like work that calls their audience’s attention to serious issues. But for Carlos Castellanos, pointing out problems isn’t enough. His mad-scientist installations raise awareness, sure, but also often envision solutions. And a subtle but common thread in his work seems to underscore that it’s going to take all of us — not just bureaucrats or companies who drag their feet — to reverse damage done and plan for a better future.
Take his recent installation, “TerraRete: Brownfield Tokenization Prototype,” created in collaboration with Johnny DiBlasi and Bello Bello, his partners in the interdisciplinary research collective, Phylum. Exhibited in Rochester Contemporary’s fall 2023 exhibit, “Tomorrows,” the work was composed of a large tank filled with polluted soil from the Vacuum Oil site in Rochester’s PLEX neighborhood mixed with compost, and devices running custom software that “mines” electricity generated by bacteria. The work provided a model for converting the act of bioremediation into cryptocurrency — thereby envisioning a way to incentivize average people to take an active role in restoring environmental health. Lining a shelf above the tank were vials of clean soil, one filled and added for each hour the exhibit was open.
Castellanos’s artistic focus is in the intersection of technology, ecology, and living systems, and his work has been exhibited at local, national, and international events including the International Symposium of Electronic Art (ISEA), the computer graphics conference SIGGRAPH, and Centro del Carmen de Cultura Contemporánea (CCCC) in Valencia, Spain. There’s an eerie beauty to his work, even as it makes a case for a collective human interest in the environment. During an artist residency at K11 Art Village in Wuhan, China, Castellanos created “Floating Data Wetland,” an artificial island of native grasses and plants, sensors, and globes of light that change color depending on the quality of water they were set upon. Installed on a lake, the work would be encountered by random passersby like mysterious, will-o-the-wisps in the night, but could be used to monitor the health of the waterway by anyone who registered to receive mobile updates.
Castellanos’s work at times incorporates his music composition and audio engineering background, like in the buzzing, popping “Swamp Music,” which connected his microbial fuel cells — “bacteria batteries” — to modular synthesizers, making ‘music’ that very much sounded like a living thing, trapped in sound waves and annoyed about it. His art is imaginative, thought-provoking, and I can’t wait to see what he does next. —REBECCA RAFFERTY
Least expected exhibit about the 19th century: “Becoming Gendered” at GCVM
As a mother of two small children and someone who doesn’t want to enforce strict gender expressions, I’ve done my share of gently navigating the comments of others who object to my son wearing his sister’s hand-me-down floral shirts or the short haircut I gave my daughter’s curls last summer. I’m uncomfortable with the implications of why it matters so deeply to place youth into binary boxes so that people can, at a glance, make assumptions about private anatomy and associate them with identities these kids haven’t begun to conceive of, much less agree to.
As it turns out, not too long ago it was locally common to adorn children uniformly in lace and ribboned dresses through their toddlerhood, only separating them with binary garments as they became older children. That fact, backed up by a vast array of historic materials, is presented through November at Genesee Country Village & Museum’s exhibit, “Becoming Gendered: Garment as Gender Artifact,” a deep dive into 19th century gender expressions, and how they differ from today. Exhibited in the museum’s John L. Wehle Gallery, this fascinating show presents mannequins wearing clothing that was lovingly hand-stitched for babies, children, and adults; daguerreotypes, paintings, historic documents, and more.
Some of the exhibit’s fashions for men — in gorgeously complicated cuts, every conceivable hue, and luxe materials and textures — have more in common with male birds’ sexy showcase of dazzling beauty than much of the acceptably drab clothing men are allowed today. There’s an educational section on the gender norms and expressions of this region’s Indigenous Haudenosaunee nations — whose women have always had a crucial leadership role in their societies — and the ways their norms were altered by contact with European colonists.
And importantly, the show notes that trans and nonbinary people have always existed. It presents the story of an adamantly nonbinary person, Public Universal Friend, who was born into a mid-18th century Quaker community in Rhode Island, and settled in the Genesee Valley. Then, as now, being accepted as a person outside of the gender binary was a constant battle — but one they arguably won, given that their chosen name and story have been preserved in time. —REBECCA RAFFERTY
This article appears in Dec 1-31, 2022.
