CAMBRIDGE — As I walked into the Plough and Stars about a month ago I felt slightly ill at ease. The cover was $7, and the space was packed. With little room to move, I worked my way to the front to meet singer Andrea Gillis.

Gillis immediately raised my confidence in the place and in the evening. She firmly shook my hand and apologized ahead of time for her cold and (therefore) “bad performance.”

I got my gin and tonic and waited for the set. There was barely any room to stand. Suddenly, the band started with the first song “Used Up” from her recent album Want Another?

So far, so good.

Gillis’s voice had a raspier sound to it because of her cold, but it seemed to work in her favor. Despite of her bad spirits and physical illness, Gillis lead a stunning performance. She rocked. The band rocked. The little house they played at was rocked. People hollered with excitement at each song.

The songs were filled with soul and her voice with power. Gillis’ sound is a mix between soul, blues and garage rock. You wouldn’t know the singer was feeling under the weather the way her voice carried through the air. I couldn’t believe how powerful she sounded.

With bassist Michelle Paulhus, guitarists Melissa Gibbs and Charles Hansen along with drummer, Bruce Caporal, Gillis’ band introduces new popularity to the co-gendered band. The throng of fans that was previously growing restless in the crowded space was now dancing and singing. One drunken guest was even shouting with the upbeat songs and swaying his lighter until realizing he was indoors.

Everyone seemed to have fun. We were really dancing our hearts out during one of her Tina Turner covers as well as her original hard-rocking songs like “Gin and Tonic.”

Andrea Gillis has been performing for 10 years and is due to release a new record soon. She opened for J. Geils and was the first band to play at the House of Blues in Boston.

If you want to hear her tunes, check out her website or MySpace.

The Miracle at Naples is certainly a play to be enjoyed by all. This old, Italian-influenced play tells a more modern tale about people, young and old, understanding love.

The story is about an acting troupe that travels Italy during the Renaissance. The eldest member and founder, Don Bertolino Fortunato brings the troupe back to his home town in Naples to perform. During their stay, they realize the town is waiting for the miracle of San Gennaro, a tradition in Naples where the statue of Gennaro cries blood as a foretelling of good things to occur.

During his stay, Don Bertonlino runs into an old friend, Francescina who has seemingly peaked his fancy. Unfortunately, for Don Bertolino, however, Francescina is unwilling to settle as his Naples lady friend and make him dinner. Francescina is a strong woman who decided to stay in Naples to nanny the now-fully-grown Flaminia.

Flaminia is approaching woman-hood and is on the search for love. She notices Giancarlo, the lead actor of Don Bertonlino’s acting troupe and immediately falls in love. Meanwhile, the Rosencrantz and Guildenstern of the play, Matteo and Tristano decide to find mischief. These two are clearly the comedic relief of the story, though clearly it is not necessary, given the play in its entirety is filled with laughter and general amusement.

Matteo and Tristano were also looking for love when Don Bertonlino, as to silence them, gave them a fake love potion to help them in their travels. The so-called potion was really an alcoholic beverage, which later got the two inebriated. Intoxicated, Matteo and Tristano found themselves trying to seduce the naive and lovesick Flamenia with the help of their “potion.” Reluctantly, Flamenia drinks the potion in hopes to attract Giancarlo, but rather becomes inebriated herself. The three, drunk looked nothing short of a scene out of bad teen movie. Like students at a frat party, the three start to experiment with the potion and find themselves in an unholy situation between themselves.

While the three are romancing, Franscesina walks in to find her sweet, once-virgin, Flamenia sandwiched between two strange men. Francescina chases the boys out of her house. From outside, Don Bertolino witnesses the event. The two elders get in an argument about the situation, and such is the first half of the play. Flamenia still hasn’t won Giancarlo over, the two boys are still in a loss for love and the elders are in a spat over their “kids” being kids.

After intermission, we are rejoined with Don Bertolino outside his wagon and we’re introduced to his short, “unattractive” daughter. Piccola, nicknamed the “little one.” She proves herself to be quite the spitfire.

Lucy DeVitto gives a great performance as the tough, take-no-crap girl in the all-male comedy troupe. We learn that Piccola, who is as quick-witted as her Father, is more of the organizer of the troupe, but is also in love with Giancarlo. Giancarlo is more interested in the beautiful Flaminia, but too shy to express himself. Finally, we see Giancarlo and Flaminia by the statue of San Gennaro trying to get each other’s attention. The two meet and express their love for one another.

Meanwhile, Matteo and Tristano are still drunk and finding themselves in a playful position. The two complain about not finding love and laughing about the threesome that got broken up. Matteo and Tristano finally decide that the love potion did work, but instead of on a lady, it was on one another.

Don Bertolino and Franscesina are finally in a more relaxed state with one another and find that they are rather fond of one another.

Although everything seems nice and lovey, we find that Piccola is having Giancarlo’s baby and Tristano is not yet willing to admit to his true sexuality. Through a series of comedic events including slapstick comedy and puns, things get resolved. Giancarlo is forced to be Piccola’s husband, Flamenia finds happiness in herself (rather than a significant other), Tristano admits to his love for Matteo and Don Bertolino finally gets to eat.

This comedy is definitely one to see and enjoy. It is filled with laughter in an old setting but with a modern turn of events. People of all ages, gender and sexuality can relate to this play. I recommend it to all of you.

The Boston Ballet’s Jewels was definitely a show that shined through and through. A unique gem, it is composed of three acts, representing three distinct flavors and nationalities in the form of emeralds, rubies and diamonds.

The first act is made up of classical dancing with duets that suggest a love story. The dances are elegant in composition and the dancers are great at letting the dance take them over, allowing a fluid collaboration throughout. There are solos that allow the dancers to show off their strengths and abilities, while the duets and corps work together like one body in the music. Watching the dance is mesmerizing like a bonfire on a cold night.

The second act, Rubies was more contemporary with some sultry jazz influence. It was much more playful. Some of the use of form and ways they held themselves in general were reminiscent of the Spanish flamenco. There was a sense of freedom in the air, as the dancers ran about the stage, chasing one another, almost like a game of tag. Much bolder, the dancers showed true professionalism in their confidence in one another. One of the most impressive aspects of this act was that some of the dancing relied dancers “falling” on one another, leading them into another step or pace- this took much trust and good collaboration.

Finally, Diamonds, the final act picked up where the first act left off in that it was much more classical. We pick back up with the implied love story, and go on to more mature, perhaps conservative dancing. The form was more Russian than French, which can be much more delicate and graceful to the eye. In terms of their costume and posing, many of the dances reminded me of a Degas painting. Others were suggestive of the Three Graces more commonly recognized in Botticelli’s “Primavera” and in Greek mythology.

The final act was truly a work of art and the whole show is worth seeing. The Boston Ballet really out-did themselves in terms of their hard efforts and very apparent talent.

Looking for something inspirational and a bit international? Check out Iyeoka Okoawo. This woman is an artist of an up and coming genre, known only as “poetry slam.”

It’s a genre where poetry is read in a rhythmic conduct along with a soulful motif. It can be very inspiring, and it touches the soul. Iyeoka Okoawo is a poetry slammer of Nigerian decent who plans to make a difference with her words.

In 2006, Okoawo won a New England Urban Music Award for the Best Female Spoken Word Poet, and in 2007 she received a Massachusetts Industry Committee Hip-Hop Award for Spoken Word Artist of the year.

Iyeoka is also known world-wide. She was sought out by the president of Rwanda to perform a poem for a dinner he was hosting. Her art is like a rap song with more soul and more relevance to a larger audience. Though her medium is unusual where she does not sing her rhythmic words, they are piercing with poignancy.

She was recently at Boston University, where Blast had the chance to see her in action. She will be performing three more times in Massachusetts — Wednesday in Wellesley College at 7 p.m.; at Harper’s Ferry Friday in Allston; and March 13 at Alchemist Lounge in Jamaica Plain.

Do not miss out. Check out her website at http://www.iyeoka.com.

Boston Ballet’s Black and White will be a hit. I attended the preview show early this week, and although costumes were not used, the dancing and choreography were phenomenal.

In the first dance, it was not taken seriously by some of the dancers. One was giggling and losing form while another was behind a beat. However, as the music persisted, the dancers became in-tune with the rhythm. They synced up perfectly.

The choreography was stunning. Dancers acted like moving sculptures that imitated visual, abstracted interpretations of the classical music used in this show. Choreographer, Ji…â„¢ƒ­ Kyliƒ¡n is truly an artist. In this show, the music is his canvas and the dancers are the paint. This show is truly reminiscent of surrealist painting in terms of their abstract movements and bold, yet crisp expression.

The dancers are obviously talented, and they perform several means of bending and lifting to form human structures. They literally mold themselves to become a single art piece. Even when they move differently, they move in sync with one another. The music puts the dancers (as well as the audience) in a trance, while they put their all into the music.

This being said, however, one flaw I did notice in the choreography, that is very common in most professional acts, is that although unique lifts can be impressive, they can also be unattractive, as the dancers (regardless of how strong or experienced they are) tend to tremble. During one of the lifts, one person was balanced with one foot on the back of another’s knee, which was awe-provoking, but also nerve-wracking, as the bottom (and as a result the top) dancer was inclined to shake.

Sometimes, it just looked painful.

But this is a great show. The first alf is breathtaking with music from Wolfgang Amadeus Mozart and Johann Sebastian Bach and unique interpretations of the songs and concepts, while the second half is just hilariously entertaining. The second half plays with gender roles and awkward situations such as romantic infidelity. The show leaves you feeling upbeat and content with its beautiful concepts and comical finale. If you like contemporary ballet or modern dance forms, or just art in a broad sense, I urge you to see this show. Boston Ballet’s Black and White is truly a show that will keep you continuously entertained.

Second look: John Guilfoil

I attended opening night on Thursday at the Wang and was very impressed. The last two acts were especially engaging. In the fourth performance, “Falling Angels,” the rhythmic thumping of Steven Reich’s “Drumming, Part I” had me literally on the edge of my seat. And the dancing — forgetaboutit. Unbelievable.

The ballet was playful, engaging, passionate and full of talent provided by the Boston Ballet. Black and White is a marvelous ballet, and we were very lucky to have it first in Boston.

Don’t miss original Blast Magazine photography Friday!

Most little girls dream of becoming the prima ballerina, for Heather Myers, one of the soloists from Boston Ballet’s “Black and White,” this dream became reality.

Although it was not easy, Myers explained eloquently where her endeavors lead her, including when she started, and where she’s at now. Landing a gig with the Boston Ballet took talent, ambition and a pinch of luck, and the Canadian-born Myers has become one of Boston’s finest gems among many of its performers.

Blast Magazine asked Myers some questions that plenty of arts fans ask themselves while being captivated by her performances in shows like “The Nutcracker” and “Swan Lake.”

Blast: When did you start dancing?

HM: I started taking‚ free dance classes‚ when I was 4.

Blast: What made you want to get into to dancing as a profession?

HM: The transition into a career in dance seemed to happen pretty organically over time as I became more and more serious about it and realized that making a living at it was possible.

Blast: What did you have to do?

HM: To become a dancer I went away to professional ballet school at a young age and then trained pretty intensively until shortly after graduating from high school. From there it was a question of extensive auditioning and determination to get my first job.

Blast: Was it easy?

HM: Neither the training nor the‚ job hunt‚ was easy but few worthwhile endeavors are.

Blast: What do you like most about ballet?

HM: The things I like the most about the art of dance and ballet are its ability to effect and connect with people and the instinctive expressiveness of movement and music that it taps into and develops.

Blast: Is it your favorite dance style?

HM: Contemporary ballet‚ or dance such as the‚ Black and White‚ program are my favorite style of dance.

Blast: What do you like most about B/W?

HM: As a dancer, what I like most about Black and White is Kylian’s beautiful and direct portrayal of the concepts. The dances feel like an enhancement what we are as humans rather than an interpretation of a story or characters. There is an earthiness and a truth to this program (as well as humor and levity).

Blast: What’s your favorite part of the show?

HM: I love the whole show. It is too difficult to pick a favorite part. Seeing the company’s‚ principal dancers‚ doing the work of such a master choreographer is definitely worth the night out!

Blast: What makes B/W different from other performances?

HM: This is the‚ U.S.‚ premiere of this full Kylian program. One very unique thing about it is that while it is technically 5 separate pieces, they are really all part of the same presentation and strung together by intention, style and some certain props/costumes, and are enriched by being seen all together.

It is also a program which is extremely loved by the dancers and meaningful to many of us. There is a lot of dancing for a wide range of company members and we are very lucky and happy to be dancing it: and this will almost definitely come through in our performances.

Don’t miss Blast’s review of “Blast and White” later this week!

Cirque Le Masque, a world-toured, non-animal circus gave an amazing performance on opening night at Emerson College’s Cutler Majestic Theatre, in Boston’s Theatre District. The 90 minute show ended with a standing ovation.

Carnivale tells a story about a girl, Moira, (performed by Cara Maher) who is tired of the discordant noise from her home in a big city. She leaves the city and jaunts to Rio de Janeiro, where she eventually joins the circus. Along the way, Moira makes friends with local carnival performers in Central and South America.

Through this exploration we get to see such stunning acts as dual trapeze and silk acts (by World Champion twins Serenity Smith Forchion and Elsie Smith), aerial acrobatics, dueling contortionists, a massive “German Wheel” (by former Cirque du Soleil star Andrei Roublev), all accompanied by the Cirque le Masque dancers.

Between aerial stunts and psychedelic costumes, this show left me enchanted. The “Silk Act” particularly left us on the edge of our seats. People cried out in disbelief when one of the acrobats leaped into the air from one of the silk ropes and gracefully caught herself, roughly ten feet from the ground.

This French-inspired show expresses a liveliness that will surprise you over and over again.

If you don’t like audience interaction this show will definitely change your mind. There are two side characters. One acts almost as a ring master and looks like something not from this planet — rounded belly and various patterns and colors all over his body. The other is an eccentric older man. In between acts, these charming but mischievous characters that will have you in stitches.

Cirque le Masque’s Carnivale is a stunning performance, filled with laughter, intrigue and amazement.

The choreography had traces of bachata and salsa footwork. The two male dancers performing one of the silk acts in the second half of the show were reminiscent of capoeira (Brazilian “kick boxing”), as their wardrobe consisted of loose, white pants and their spirited choreography involved fast flips and impressive leg extension.

I would have liked to see more of two things: more emphasis on the dancing and more of the actual dancing, especially at the end and especially from the main character.

Moira suddenly shows up as a show girl in Rio, but there’s little character development before that. The dancing could have been rehearsed more, as small things like piques, other footwork and body isolation were sometimes not in sync or as accentuated as they could have been. I assume that this is probably because more of the emphasis at rehearsal was put on the difficult stunts than the dancing.

The music could have had more Latino influence in its beat, since the story takes place in South America — but this is also a French-inspired show…

What started out as a joke among friends has turned into a million-dollar business for Johnny Earle, or “Johnny Cupcakes,” now a household name in Massachusetts. Earle began his T-shirt clothing line as a complete joke among friends at a Newbury Comics warehouse in Boston. Co-workers gave him a number of nicknames, one being Johnny Cupcakes. He decided to make light of it by mimicking pop culture items and replacing them with cupcakes on shirts he printed at his other job at a silk screen shop.

Earle wore them to shows his former band would perform and the shirts slowly became a hit. As popularity grew, Johnny printed more shirts with different designs poking fun at pop culture. One satirical design imitates the famous Air Jordan logo, with a slam-dunking chef and cupcake. Another popular print depicts a cupcake and crossbones.

Earle’s shop is located on Boston’s swanky shopping district, Newbury Street. In keeping with the bakery motif, the shirts are encased in bakery cases and fridges and employees wear aprons.

Cupcakes are sprouting up everywhere from music videos such as the Gym Class Heroes, to spots on You Need to Know me on MTV news.

Johnny Cupcakes intends to expand to new locations such as California, London possibly even Japan. Earle said he wants to expand from shirts to purses, sneakers, ties and jewelry.

One fan describes his clothing as “the kind of shirt strangers will talk to you about.” Another draw is originality. For each design, Earl prints only a few shirts, which immediately become “limited edition.”

Orikaso is a fold flat tableware brand and the brainchild of a British team of inventors and businessmen.

This believe-it-or-not business is continuously growing. As the name suggests, Orikaso is origami-inspired. And it’s the perfect design for your outdoor eating needs.

These thin pieces of polypropylene plastic can hold anything with no leakage. The hot dish can hold anything from salad to hot cocoa. In several vibrant colors you can find anything to fit your needs–coffee mugs, small bowls, large bowls, plates and even a playing mat for board games.

Polypropylene is a unique material. Orikaso’s makers call it "the Merlin of the plastic world" on their website.

"Polypropylene is practically the only plastic that can be folded without breakage, in fact the more you fold it the more durable it becomes along the hinge. Products are practically unbreakable (by practically I mean if you were to stick them in a food blender, or on a fire they will cease to work, but in daily normal use you shouldn’t experience any problems,)" the company said.

The material is also nontoxic and recyclable, dishwasher safe and endorsed by Greenpeace as an alternative to PVC materials.

After using one of these handy little tableware dream-come-trues you can actually turn them into a chess/checker set for outdoor family fun.

The design allows just enough practicality to make it attractive to anyone, and the company plans to aggressively market it worldwide.

Jay Cousins, creator of Orikaso said he intends to expand Orikaso’s usage and popularity.

"Having established channels to market in 22 countries, we now intend to spread the word of Orikaso further, extend our range of innovative products, and expand into further sales channels," said Cousins.

Orikaso is not microwavable, but it’s still very handy for those who enjoy hiking, camping or general outdoor activity because of the product’s simple portability concept.

From boy scouts, adventure travelers to hunters- just about anyone who loves the great outdoors finds a place for Orikaso in their hearts.

Given Orikaso’s current practicality and sales growth, things look promising in the future. You can buy Orikaso online at www.orikaso.com.