Trial on the Potomac: The Impeachment of Richard Nixon
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I want to be clear. "The Music Man" is such a masterfully written musical that making some changes here and there can’t really ruin it; but changes are not needed in this show and they certainly don’t help. I believe in the old saying: “If it ain’t broke, don’t fix it!” I also believe, as Tommy Tune once told me years ago in discussing a different show, many producers and directors feel a need to tinker with shows, making changes for the sake of making changes, even when the wiser choice would be to simply leave things alone. There’s just that desire to “improve” things, whether or not the changes actually improve anything. [more] -
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Presented at Lincoln Center’s David H. Koch Theater by the China Arts and Entertainment Group Ltd., the company used its impressive resource of dancers in two large-scale ballets: "Goddess of the Luo River" choreographed by the Canadian, Peter Quanz to a Western-sounding violin concerto by the Chinese composer Du Mingxin and "Carmina Burana" choreographed by the Chinese national, Jiang Qi to the famous (infamous?) score by Carl Orff.The former was a run-of-the-mill ballet weighed down by fuzzily pretentious program notes. Three characters—Yi Ren (Fang Afang), Lian Jun (Huang Baimao) and Ruo Shui (Ma Minghao)—led the corps de ballet in several merry chases that involved processions, movements rolling down lines of dancers, non-romantic encounters and show-off solos by the male contingent, all ending in a pretty arrangement of the dancers across the Koch stage with one of the characters held imposingly high as if overlooking her kingdom. [more] -
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