Nellie McKay is a British-American singer-songwriter, actress, and former stand-up comedian, noted for her critically acclaimed albums and for her Broadway debut in The Threepenny Opera.

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“A renegade songwriter with an ultraflexible Great American Songbook sensibility…” — ROLLING STONE

“funny and touching, ceaselessly clever and scarily talented.” — NEW YORKER

 

Nellie McKay co-created and starred in the award-winning off-Broadway hit Old Hats and has written three acclaimed musical biographies – I Want to Live!, the story of Barbara Graham, the third woman executed in the gas chamber at San Quentin, Silent Spring: It’s Not Nice to Fool Mother Nature, an exploration of environmental pioneer Rachel Carson, and A GIRL NAMED BILL – The Life and Times of Billy Tipton, named one of the Best Concerts of 2014 by The New York Times.

A recipient of People for the Ethical Treatment of Animals Humanitarian Award in recognition of her dedication to animal rights, Nellie is an annoyingly vocal advocate for feminism, civil rights and other deeply felt progressive ideals. She is currently part of the campaign to get horse-drawn carriages off the streets of New York City.

Nellie has released six full-length albums, including Normal As Blueberry Pie: A Tribute to Doris Day (“among the killer overhauls of American standards” – The New York Times) and her latest, My Weekly Reader, music of the ‘60s co-produced with Beatles engineer Geoff Emerick (“[Nellie] manifests more historical grasp than any psych band yet to show its hand. – Robert Christgau).

She has won a Theatre World Award for her portrayal of Polly Peachum in the Broadway production of The Threepenny Opera and performed onscreen in the films PS I Love You and Downtown Express, as well as writing original music for the Rob Reiner film Rumor Has It and contributing to the Emmy-winning documentary, Gasland.

Nellie contributed the forward to the 20th anniversary edition of The Sexual Politics of Meat, by Carol J. Adams. Her writing has also appeared in The Onion, Interview and The New York Times Book Review.

This event is generously sponsored by Ron and Stephany LaVallee and CherylAnne Williams.

We are proud to welcome all types of concerts to our stage.  Occasionally during a performance, audience members will show their enthusiasm by standing and dancing, especially when encouraged by the performers to do so. Unless directed by the show, we do not enforce a “must-sit” policy at concerts. For most concerts this would not be acceptable to the performers on stage who often love it when the crowd is moved enough by the performance to stand. This is especially true for rock shows and for seats closest to the stage.

We do not have a “no standing” policy and, in most situations, will allow guests to stand even if they block the view of the stage for other guests. If your view is ever blocked by a standing or dancing guest, please contact an usher and we’ll attempt to find alternative seating.

Processing and convenience fees are standard in the performing arts industry, but since the Capitol Center for the Arts handles ticket sales independently, our fees are much lower than the average fee you’ll find with theatres using third party ticketing companies. A variable per ticket convenience fee will be added to every order purchased online or by phone. You are not charged this per ticket fee when purchasing in person at the Box Office. These fees help to cover the cost of operating the theatre, as well as administrative and box office staffing, credit card fees charged by merchant services, ticketing software, 24/7 ordering via our website, postage, computer and telephone systems, utilities and supplies.

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