(bright upbeat music) - [Jade] Maura Marcks creates handmade clothing from vintage fabrics.

Matthew Gold discusses how PS21 plans to foster community engagement, and catch a performance from Johnny Swain.

It's all ahead on this episode of "AHA!

A House for Arts".

(soft thoughtful music) - [Announcer] Funding for "AHA" has been provided by your contribution and by contributions to the WMHT Venture Fund.

Contributors include the Leo Cox Beach Philanthropic Foundation, Chad and Karen Opalka, Robert and Doris Fischer Malesardi, the Alexander and Marjorie Hover Foundation, and the Robison Family Foundation.

- At M&T Bank, we understand that the vitality of our communities is crucial to our continued success.

That's why we take an active role in our community.

M&T Bank is pleased to support WMHT programming that highlights the arts, and we invite you to do the same.

(soft thoughtful music) (scene whooshing) - Hi, I'm Jade Warrick, and this is "AHA!

A House for Arts", a place for all things creative.

Here's Matt with today's field segment.

- I'm in Troy, New York, at the studio of clothing designer and seamstress Maura Marcks, who makes these really fun and bright shirts out of vintage fabrics, let's go.

- For a long time, I was just doing a job that didn't really explore any of my creative energy.

And for a while, I was okay with that.

You know, I went to my office job, I did marketing, and I always knew something was missing but I didn't know what it was.

And I certainly didn't think it was sewing.

And when I started making shirts, all I wanted to do was find more fabric and do it again the next day.

I always learned little sewing tips and tricks from my mother growing up.

She would sew our prom dresses, my sister and I, and she made my wedding dress.

So I would kind of look over her shoulder while she's sewing things, and she showed me how.

So I've always had that in the back of my pocket, you know, this skill that I haven't really used, up until about maybe four or five years ago, I really started making things.

I went to this amazing David Bowie exhibit in Brooklyn.

All of his costumes were out on display, and you could walk right up to them.

I mean, they were behind glass, but it was so inspirational.

And I just got so excited because I was like, "You know if I bought the right fabric, I could make something fabulous like this.

I could make it for myself.

I could make it for friends."

I started digging through my storage of sewing patterns, and I started looking out for more fabric that I liked, and I really just got into it.

Well, I really like fun, bright colors.

I only use vintage fabrics because the patterns that I find are just so much better than what I can find now.

Like if I went to a big box fabric store I couldn't find anything, you know, remotely interesting.

But if you start digging through, you know, your grandmother's attic or an estate sale, somebody's sewing room, you really start to find fun, bright florals and Hawaiian patterns, and you know, parrots and fruit and stripes and polka dots.

I just love all that stuff, so I try to incorporate that into my pieces.

Weird Al is obviously a fashion hero.

He wears great shirts and is a lot of fun and is a great musician.

So I've been a fan for a while.

When my husband and I got tickets to see Weird Al at the egg in Albany not too long ago, I was just like, "Oh, what shirt are we both gonna wear?"

Like, "I can make you something."

And my husband suggested, "Why don't you make a shirt to give to Weird Al?"

And I was just like, "Yeah, why not?"

I got to work, I made the perfect shirt.

I spent a lot of time really matching up the pattern.

The next challenge was, how do I get it to him?

He probably gets a lot of stuff from fans, and I don't want it to go in the trash or just get forgotten about.

So I have some connections with the city of Albany, and I got a hold of (beep), a big wig at the Egg, who really helped me out.

I met up with him a few days before the show, and I handed him the package.

I was just like, "Wow, I really hope that that got to him.

And I really hope it's not just sitting on the the Egg manager's desk right now."

And then he came out on stage and he was wearing it.

He was wearing my shirt, and I, (laughing) and I just got really emotional, like I'm doing right now because I didn't expect that at all.

That was like blue sky dreaming that he would actually put it on.

I was just hoping he would get it and see it and be like, "Oh cool," like, "I own this shirt."

But he wore it on stage and he wore it for the whole show.

It was really like my claim to fame for like a month.

(laughing) I was very popular on Instagram, which isn't always the case.

But that was a really, really good feeling.

I feel weird when I go a week and I don't sew anything.

Like I was on a trip and I didn't do anything, and I'm just like, "Oh, what do I have to do?

I have to get back to making the shirts."

And I guess I haven't really had that excitement in any of professional careers up until this point.

So I think it's finally a feeling that I wanna go to work every morning.

I'm excited about it every day.

- Matthew Gold is PS21's Coordinator of Community Engagement.

Having grown up just 10 minutes from the Columbia County performing arts venue, Matthew was excited to work on growing engagement with the community.

He plans to do this with Pathways, a series of free and affordable performances, classes, and workshops tailored to the area's permanent residents.

I sat down with Matthew to learn more.

Hello Matt, and welcome today to "AHA".

It's nice speaking to you today.

- Thanks so much, it's great to be here and great to see you.

- I would like you to briefly describe your creative background to us, like who is Matt Gold, and what all do you do and find joy in, in the arts field?

- Yeah, my background is as a musician.

I'm a percussionist, ensemble director, and educator, and really that's the world that I come out of.

My interest has really been in contemporary music, new music, often experimental music, and discovering new things.

Through that work, I've been involved in presenting a lot of programs, and introducing new works and new composers to audiences, and also you know, through educational things as well.

And you know, that process of like, discovering new things, you know, leading students to it, leading audiences to it, has really become central to what I do and what I'm interested in.

And so, yeah that's, you know, in my new position at PS21, that's where I've really been focusing on, like how to bring this, like this way of introducing new things to people, leading them into things, giving them a sense of discovery to everything we do there.

- Awesome, and how are you experimental within your art?

I just wanna get a little bit more details about that.

When you say experimental, what does that mean?

- Sure, there's a range of things with that.

I mean, in some cases it's just trying new things.

But I'll say that for me, that practice comes out of being a percussionist.

The central thing you do as a percussionist, where our instrument isn't really defined, you know?

We don't have just a single drum, or you know, for that matter, a violin that we play.

But we take a thing, we say, "What can this do," try different approaches to it, and discover what voice it has, and you kind of unlock something that was probably there already.

So in that sense, it's experimental.

You don't know what's going to happen before you do it, and then you discover what might be there.

- Oh, that's beautiful.

- Thanks.

- And I bet those skills and passions transfer to your role as Community Engagement Coordinator at PS21.

So give us a little bit of background about, what is PS21 and what do you do there?

- Sure, so PS21 is a performing arts venue situated on a hundred acres of land in Chatham, New York.

We have a 300-seat open-air pavilion theater that converts into a 99-seat black box theater- - Whoa.

- In the off season.

But one of the really core things about it is the site, this place where it exists, you know, on this land.

Much of it is undeveloped.

There are trails, forests, fields, but also installations.

And it's this place that, I mean I think first of all, it's a really magical place, but it is a place of discovery.

And in my role as coordinator of community engagement, my mission is, well there are a lot of parts to it.

But I think at its center is of course, to invite the community in to experience these things.

And it goes through a number of channels.

One is, you know, reaching out to the immediate community, the local residents, the year-round residents, and making sure that our performances are accessible, that they're affordable.

- Very important.

- But you know, even more than that, making sure that they have a sense of ownership of the place, that they feel comfortable there.

You know this theater, the new venue opened in 2018.

PS21 itself opened in 2006 with an outdoor tent.

But the kind of things we present in this venue, I mean, it's really quite often very cutting edge, really exciting, really at the forefront of what's happening.

And there is a sense I think, you know, I grew up in that area.

I grew up in Valatie, which is one town over, and we didn't have something like this.

And yeah, to me what's really important is, it its core, making sure people feel a sense of ownership, and that they can come there and take a risk, that their experiences there are validated.

That it's not just, you know, starting with being able to afford it, but then also feeling like they can go there and experience something.

And then on a deeper level, this idea of engagement and accessibility, I think for me is, that our audiences can have their own experience of it.

It's not just that they're a spectator, or even maybe worse, I'd say, like a consumer, somebody who buys a ticket and then, you know, sees a product that's, you know, touring and that you can see anywhere.

But they have an experience that's specific to PS21, and then one that's really like, unique to them as well.

And I think this comes directly and organically out of our site, and this place where we exist in nature.

The idea is that you could come to PS21 and discover your own experience there.

Go for a hike, have an afternoon picnic.

Bring your dog and go for a walk, or play Frisbee, or any of these things, or engage in it creatively in some other way.

And then come to a performance and feel like this is a place where you can have these experiences, where you know the place, and where you know again, what your experience is, is validated.

But each performance at PS21 is something you couldn't experience elsewhere, even if you saw the same work elsewhere, because it's informed by what happens around it, so yeah.

- Very environmental, it seems like.

- Absolutely, it's essential to the mission and the experience.

- That's awesome, so it seems like you really give artists a chance to just flourish without much structure, and like the organization really putting them in a box.

You're like, "Here, we're giving you this environment.

We're giving you this platform.

We're giving you this foundation to just grow as an artist and do, however you wanna do it."

So that probably goes into Pathways a little bit.

I wanna hear about Pathways, the program you put on for artists.

- The Pathways program is a multifaceted program that involves performances, both on our stage, on our grounds, and in the community.

Workshops, educational opportunities, and participatory events.

So it's something that's immersive, usually free or very affordably priced, and designed to bring these up close, participatory creative experiences to the whole range of our community.

- Awesome, and how do you, what programs do you have that are free and accessible to folks?

That's very accessible to have free programming for people.

- For sure.

- So what are some programs that are free that you offer?

- Sure, it's a range of things, from our weekly workshops with visiting artists.

So for example, a couple weeks ago we had a free dance program workshop with artists from the Paul Taylor Dance Company.

So it's an opportunity to work with these like, you know, world renowned, like I mean, you know, artists at the top of their field, and have this like, really close access.

We offer usually free student and youth tickets to our performances, or very affordably priced, you know, with a significant discount.

And most of our Pathway events are just free and open to the public.

- That's amazing, and I do have another question.

So what are some of the artists that you serve?

Is it just musicians and performance, or are there visual artists that are part of the path?

Does the Pathways program help uplift visual artists as well, or painters or dancers, things such as that?

- So it's primarily theater, music and dance, and as well as international contemporary circus and other kinds of participatory events.

We do have, you know, installations on our grounds, but primarily it's performing arts.

And you know, we wanna both be like a place where artists from a whole range of, you know, approaches and backgrounds and the like can come and do work and develop new things, things that are site specific, or developed specifically in our space, but also to offer creative opportunities for the community.

Again, not just the spectators, but to be involved.

And that's an important thing as we go forward, to look at ways that we can have collaboration between these artists and local artists and creators, and just make it a place of reciprocal creativity and active involvement, active engagement.

- Yes, and collaboration, I always think is key for artists' success, and organizationally.

- Sure.

- Collaboration really does help bridge and build stronger artists and organizations.

Well awesome, well you just seem to be a jack of all trades over here.

(chuckling) - If I could speak of one more important part of the Pathways program.

- Go ahead.

- The environmental mission is incredibly important.

We consider ourselves stewards of this land that we're on, and you know likewise, like how that just fundamentally connects with the community, and then our programming reflects that too.

Upcoming performances include the Vertigo Dance Company from Israel, a group that works in an eco village where they develop their work using sustainable practices and bring them on tour.

They'll be performing a work in which our stage is covered with soil, and they dance on that.

- Wow.

- Later in the season, a work called "Farm Fatale" by a major French theater maker, that's sort of a post-apocalyptic look at, well you know, environmental destruction, but one like through the lens of agriculture, and things that are really specific to our region.

So there are a lot of ways into these ideas through the programming.

- Well, that's amazing.

Well thank you Matt, for talking to us about Pathways and PS21.

It was amazing talking to you today.

- Thank you so much.

- Keep doing what you're doing.

(laughing) - Great to be here.

- Please.

welcome Johnny Swain.

- So this song is, it's called "Color Inside the Lines".

It's a little unique in my repertoire, only because I wrote it all at once.

Usually I'll, you know when I'm writing something, I'll write a guitar part, and then maybe I'll sit down and I'll write some lyrics, and I'll sorta work them together and see how everything fits, and go from there, and sort of, you know, come up with a layout and some sorta construction.

But this just kinda, like 90% of the song really just kinda came out while I was playing it.

The few fans that I have seem to really like it.

So you know, I look forward to playing it for you.

Thank you.

♪ My time is precious ♪ ♪ And there ain't much left of it, no ♪ ♪ So many moments have slipped through my fingers ♪ ♪ My temper's short and my aim is distorted ♪ ♪ And I've got more than my fair share of regrets ♪ ♪ I thought I knew once what was to be and yet to come ♪ ♪ But all that's clear is what shoulda been ♪ ♪ I lie awake contemplating each mistake that I made ♪ ♪ The only one I can relate to is you ♪ ♪ We cannot merely draw down the shade ♪ ♪ Lie down in the bed that we've made ♪ ♪ Oh, the plans that we've laid ♪ ♪ Won't stay in their place ♪ ♪ All the twists and the turns that you learn to observe ♪ ♪ Don't step out of line ♪ ♪ Be on time, see the sights ♪ ♪ Pay the toll at the sign ♪ ♪ And color inside the lines ♪ ♪ Don't get so stressed out ♪ ♪ No, there's no way out ♪ ♪ Hold on tight, this is the ride of your life ♪ ♪ It's funny this perspective of time ♪ ♪ When you wind it up and you watch it unwind ♪ ♪ All the plans that we've laid ♪ ♪ Won't stay in their place ♪ ♪ All the twists and the turns ♪ ♪ And you learn to observe ♪ ♪ And don't step out of line ♪ ♪ Be on time, see the sights ♪ ♪ Pay the toll at the sign ♪ ♪ And color inside the lines ♪ ♪ Don't step out of line ♪ ♪ Be on time, see the sights ♪ ♪ Pay the toll at the sign ♪ ♪ And color inside the lines ♪ This next song is called "Dream".

I wrote it a long time ago.

Actually, I wrote a majority of it on my steering wheel while I was driving down the highway.

Dave Tayo also produced the radio-friendly version.

This is a pretty simple rendition, but I think you'll like it.

All right, I hope you like it, thank you.

I like it.

♪ I flick away the layers ♪ ♪ That mask the memories of my past ♪ ♪ And I recall, precious moments don't last ♪ ♪ So I sit and I stare ♪ ♪ With the TV's glare in my eye ♪ ♪ Wondering how could I have been wrong all this time ♪ ♪ I miss you more and more every day ♪ ♪ I want you more and more every day ♪ ♪ I need you more and more every day ♪ ♪ And I love you ♪ ♪ I love you ♪ ♪ But it seems so cruel and tasteless ♪ ♪ To waste this moment in my life ♪ ♪ And I dread how many more like it I'll leave behind ♪ ♪ The day is new ♪ ♪ And I knew you'd never lose faith in me ♪ ♪ And you'll never want for the lonely me ♪ ♪ I miss you more and more every day ♪ ♪ And I want you more and more every day ♪ ♪ And I need you more and more every day ♪ ♪ And I love you more and more every day ♪ ♪ With no more than a dream to light my way ♪ ♪ Left here dreaming a dream that I dreamt awake ♪ ♪ And in my dreams, the layers have begun to flake away ♪ ♪ How much of this punishment must I take ♪ ♪ I was only dreaming a life that's faded away ♪ ♪ And I miss you more and more every day ♪ ♪ I miss you more and more every day ♪ ♪ Oh, more and more every day ♪ ♪ More and more every day ♪ ♪ More and more every day ♪ ♪ More and more every day ♪ ♪ More and more every day ♪ ♪ More and more every day ♪ (soft smooth ambient music) - Thanks for joining us.

For more arts, visit wmht.org/aha, and be sure to connect with us on social.

I'm Jade Warrick, and thank you for watching.

(soft smooth ambient music) - [Announcer] Funding for "AHA" has been provided by your contribution and by contributions to the WMHT Venture Fund.

Contributors include the Leo Cox Beach Philanthropic Foundation, Chad and Karen Opalka, Robert and Doris Fischer Malesardi, the Alexander and Marjorie Hover Foundation, and the Robison Family Foundation.

- At M&T Bank, we understand that the vitality of our communities is crucial to our continued success.

That's why we take an active role in our community.

M&T Bank is pleased to support WMHT programming that highlights the arts, and we invite you to do the same.