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Q Brothers

Q BROTHERS   

Nationality:   n/a    Email:   n/a   Website:   n/a

Literary Agent:  n/a

the Q Brothers -- that's JQ and GQ, aliases for Jeffrey and Gregory Qaiyum

Plays by Q Brothers

Bomb-Itty Of Errors, The

1st Produced:

45 Bleecker Theater, NY, USA >>>

12 Dec 1999

Company:

n/a

1st Published:

Samuel French, Inc - New York (2011) >>>

ISBN/ASIN:

978-0-573-69844-6

Music:

-

doollee no

#127923

To Buy This Play:

If Publisher (above) is underlined then the play may be purchased by direct click from the Publisher, otherwise (below) are AbeBooks for secondhand, signed & 1st eds and other Booksellers for new copies

 

abebooks.com
abebooks.co.uk

stageplays.com

amazon.com

amazon.co.uk

amazon.ca

Genre:

Bard Rap 90 min Musical

Parts:

Male

4

Female

-

Parts other:

up to 20 m/f possible

Notes:

Jordan Allen-Dutton, Jason Catalano, Gregory J. Qaiyum, Erik Weiner and music by Jeffrey Qaiyum. hip-hop theatre retelling of Shakespeare's The Comedy of Errors

Bomb-Itty Of Errors, The

Mix Shakespeare, a DJ and four guys rappin' / Throw on a beat and watch what can happen / A knee slappin', hands-clappin', hip-hoppin' comedy

Further Reference:

-


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Funk It Up About Nothin'

1st Produced:

Chicago Shakespeare Theater

30 Jun 2008

Company:

n/a

1st Published:

I don't think it has been published. Try emailing Playwright or Agent where listed at top of page.

ISBN/ASIN:

-

Music:

-

doollee no

#127924

To Buy This Play:

If Publisher (above) is underlined then the play may be purchased by direct click from the Publisher, otherwise (below) are AbeBooks for secondhand, signed & 1st eds and other Booksellers for new copies

 

abebooks.com
abebooks.co.uk

stageplays.com

amazon.com

amazon.co.uk

amazon.ca

Genre:

Bard Rap 70 min Musical

Parts:

Male

4

Female

3

Parts other:

-

Notes:

Gregory J. Qaiyum, music by Jeffrey Qaiyum. hip-hop theatre retelling of Shakespeare's Much Ado About Nothing

Synopsis:

Funk It Up comes from the Q Brothers -- that's JQ and GQ, aliases for Jeffrey and Gregory Qaiyum -- who were also involved with this show's direct predecessor, "The Bomb-itty of Errors." It's nothin' if not a lively entertainment, keeping up a brisk pace for its brief 70-minute running time and effectively condensing Shakespeare's comedy into what feels like one long, high-octane rap. A talented, bouncy cast of seven, including the Qs, plays all the roles. Receiving its premiere in the small second space at Chicago Shakespeare (this year's Tony winner for regional theater), the show transforms royal Don Pedro (Postell Pringle) into a rap star. Instead of warriors returning from battle, Claudio (Jackson Doran) and Benedick (JQ) become members of his "crew," back from a successful tour. Other than that, it's surprising how few narrative contortions are needed to give this story a modern twist.

Further Reference:

Theatre Record Volume XXXI Issue 08 Page 392


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Apart from very popular and world touring productions, many performing arts events are largely forgotten about in a matter of months. Traces may remain in various collections, but few collecting agencies, such as libraries, catalogue each flyer or program individually. Hence, unless one knows that an event took place at a certain time in a certain place, tracking down such an event as part of a research project is often a matter of chance. Where research needs to be carried out on high profile and well-documented productions only, this is not a problem. However, both the historian and the analyst will attest that the cultural, political, or sociological context in which a performing arts event takes place is also of major importance, as are the other events that took place in close proximity, either in place or time. A good overview of such productions provides us with a 'social document' that can greatly enhance cultural studies in ways that extend far beyond the narrow confines of theatre history. For instance, data such as this can be used to monitor the health of communities, particularly when used in association with data obtained from other social science disciplines. When one researches a particular playwright one might want to know about all the productions of plays by that author; if one wants to investigate what choices a particular audience had over a period of history and compare this to, say, an ethnic breakdown of the population, one would need to know broadly all the events that took place during that time. If one wanted to do a statistical analysis on the shift in popularity of a genre over one or more generations, it is important to have knowledge of most of the relevant major and minor performance events that took place. In this context, issues of aesthetic quality and the professionalism of a production - which will of course have an impact on such studies - are not the determining factors when deciding to include or exclude events, since all events are the raw material for such research.