Mr. Urban does an excellent job of dramatizing and explaining a complex historical situation in this fictional treatment of a real case. In 1994, Rwandan President Juvénal Habyarimana died when his plane was shot down. This assassination instigated a brutal tribal conflict between the majority Hutus who blamed Tutsi extremists for the death of the Hutu president. Varying estimates of the death toll range from 500,000 to 1,000,000. [more]
“Papa” was the elder Theodore Bikel’s sobriquet to the younger members of the touring company of "Fiddler on The Roof." Mr. Bikel died at the age of 91 on July 21, 2015, and a warm and very well performed tribute to his life and career was the centerpiece of the splendid concert "Another Hundred Years," at 54 Below. Part of KulturfestNYC’s Encore Series, this show also celebrated the impact of Jewish songwriters on Broadway musicals and marked the centennial of The National Yiddish Theatre Folksbiene which co-produced it. This is the oldest continually performing Yiddish theater company in existence. [more]
“The epitomy of a true triple threat performer,” was how Mr. Reineke introduced Ms. Foster. “I’ve never been here or sung outside with a big orchestra before” was her sweet response to the huge audience response. First clad in a slinky blue dress, she later changed into a tailored gray tunic and then into a striking black gown with rhinestones. Her versatility was ever present as she opened with the thrilling Duke Ellington collaborative composition, “I’m Beginning to See The Light.” Then it was on to rollicking renditions of “Anything Goes” and “I Get a Kick Out of You,” from that Broadway revival for which she won her first Tony Award. [more]
Under the careful direction of Amy Fowkes, Lundy-Paine captures a woman’s painful journey when trying to have a baby and nothing is working. She finds the ever so delicate balance between finding the strength to keep it together and allowing her vulnerability and struggle to shine through. While she knows what she wants when it comes to selecting a donor, her choices become limited with time and she resorts to an option that is way ahead of her – or medicine’s – time. [more]
"Delirium's Daughters" by Nicholas Korn is faithful to the form and figures of Commedia dell'arte. This theatrical genre is grounded in comedic improvisation and began in 16th century Italy with easily recognizable satirical stock characters. This middling production of Mr. Korn’s solid play is presented by Triumvirate Artists. Though unintended as such, it comes across as ideal children’s entertainment but is too slight for adults. [more]
Like most of the other of the author’s works, the three characters here are very colorful individuals who histrionically clash with each other while verbosely explaining their feelings and motivations. As entertaining, funny, and thoughtful as these often quite lengthy exchanges are, they’re unable to compensate for a lack real action or suspense over the course of the three scenes lasting 90 minutes and becomes wearying. Though similar in structure and themes to many of his successful other works, the dreamer examines his pillow is not as satisfying. [more]
Featuring catchy tunes such as “Breakthrough” and “Talk to Tony” as well as inspiring ballads such as “The Life I Was Meant to Live,” "What Do Critics Know?" went beyond the criticism and pressure of the industry to uncover dreams that were once put to rest. The music and lyrics by James Campodonico and bookwriter Gurren were uplifting, powerful and beautifully performed and the lovely voices of Mossberg’s Irma and rising star Dahlia (Sarah Stevens) really brought the heart of the production home. [more]
Conveying the joyous spirit and monumental artistry of Eugene Ionesco, Nichols and May, as well as Monty Python, the clever comedy of "Odd Birdz" is universal, richly realized, and grandly entertaining. [more]
Eric, a young man in his early 20’s nervously enters through a door onstage and sits at a piano and plays. He is writing a musical about his life and is soon joined by a young trio, two women and man. They represent his “thoughts,” and perform the various characters in his story as well as dealing with his temperamental personality. [more]
“Audience members are encouraged to come dressed in their best funeral attire” is in the promotional material for "Deep Love" and “Funeral Attire Recommended” is in its program. This show is not ready yet for Rocky Horror Picture Show-style cult status, but dressing up could be fun for its attendees. This ethereal romantic rock opera is in the mold of Andrew Lloyd Webber’s "Phantom of The Opera" and is presented at The 2015 New York Musical Theatre Festival. [more]
His commanding voice often begins with a light and an expected approach to these often very familiar songs and then veer off into surprisingly much deeper tones and shift back and forth. Like the artist he emulates, Mr. Malavet is a master of phrasing as well as a charismatic vocalist. He is also a highly engaging entertainer making great use of his marvelously expressive face. He wears a cool suit and for one number puts on a fedora. With strategically used blackouts, dimness, and brightness, the show’s lighting achieves compelling visual effects that convey the moods of the songs. [more]
Sutton Foster is electrifying as Queenie the sexually insatiable nightclub performer who incites men to violence in this revival of the 2000 Off-Broadway musical The Wild Party. Lean and fierce and slinking around in a taut white sequined flapper dress and wearing a curly blonde wig, Ms. Foster’s star quality and performing talents are on dazzling display in this problematic Jazz Age ode to decadence. She continues to grow in her versatile stage career that has included such light shows as "Thoroughly Modern Millie," "The Drowsy Chaperone," "Shrek," "Young Frankenstein," and the more recent serious "Violet." [more]
With stardom and the ever-present celebrity culture plaguing our world today, à la famous families such as the Kardashians, the relationship between “momager” and talent takes the crown when it comes to merciless behavior in the fight to the top. The obsession with fame and fortune has only escalated since 1992, when "Ruthless! The Musical" first premiered, and now this Off-Broadway revival treats modern audiences to a heaping helping of bratty and manipulative behavior, presented in the sweetest of packages. [more]
Wearing a red plaid shirt, black shorts, and black combat boots, the acclaimed lesbian performance artist Marga Gomez vibrantly barrels through her solo show "POUND" with unflagging comic energy. Lasting 90 minutes, it’s a rambling and exasperating semi-autobiographical fantasia that has laughs but doesn’t satisfyingly cohere. [more]
Mr. McPherson has written a rich and engrossing play that is appealing in it’s well-crafted simplicity. Each of the five commonplace characters is precisely drawn with biographical details expertly imparted throughout. They all speak in an authentic flavorful Irish manner. The narrative conceit of people reminiscing about past interactions with apparitions is rendered with a matter-of-fact quality and total believability. The beauty of the play is in its depiction of the inner lives and honest exclamations of these small town folk that only gets expressed through their fanciful storytelling. [more]
Neglected, ignored and then forgotten, Harry Lawrence Freeman's opera "Voodoo" was brought back to the stage in a compelling production in June, 2015. The opera was last seen at what turned out to be its only production in 1928. Now, more than three-quarters of a century later, it has been brought back to life by Morningside Opera, Harlem Opera Theater, The Harlem Chamber Players and scores of named and unnamed supporters and fund-raisers in the Harlem music community. [more]
The very talented and youthful Jonathan Groff is excellent as Gordon. His charming presence known from his work on stage (Spring Awakening, Hair) and on television (Glee, Looking) adds considerably in filling out the role of Gordon. He also has the advantage of having the most developed and sympathetic part. [more]
Over a period of six hours, on an early summer afternoon and evening at Symphony Space, twelve choruses gave “mini-concerts” of 15 – 25 minutes, following one another with little break except an emcee's brief, efficient and entirely cheerful introduction of the next choir. Each group of singers performed pieces that, in one way or another, represented that particular group's identity. Some groups, by their very nature, commit themselves to just one kind of music – music for men, or for women; Jewish music; inspirational songs; contemporary composers' works – though a closely circumscribed repertoire rarely limits the breadth and richness from which choral directors can choose works to perform. Part of Choralfest USA's purpose, in fact, is to celebrate this richness. [more]
Ms. Winkler’s writing is so simple but exquisite in its execution. In twenty minutes the sad lives of the girls are deftly dramatized with a compelling range of emotion. The direction of John Giampietro is a superb display of the art of stagecraft. The clever fantasy device of the cherry trees is skillfully blended into the narrative with boldness and precision. Lighting, sound and music are all utilized to great effect so that it is all visually quite stunning. [more]
Hobbling on crutches and with one injured leg encased in a large boot, all due to a recent automobile accident, Sahr Ngaujah made a dramatic entrance from the wings onto the stage of The Town Hall to appear at "Broadway by the Year: The Broadway Musicals of 1991-2015." Joined by the accomplished guitarist Ricardo Quinones, the charismatic Mr. Ngaujah passionately sang “Sorrow, Tears of Blood,” from 2009’s "Fela!" In which he starred. It was a galvanizing episode that came near the end of a concert that had been packed with powerhouse sequences. [more]
"The Tour" follows in the success of the same company’s "The Ride" that is an audience participation theatrical version of a New York City bus tour. CEO/COO Richard Humphrey has conceived, produced, directed and co-written it. His grand achievement is that of an immersive overview of New York City through a fast-paced city tour with novel elements. Touted as the tallest allowed vehicle by federal law, the motor coach used for this is awesome. With a capacity of 49 people arranged in rows of stadium seating facing out the length of the bus along on its side. The panoramic views are from huge clear windows as well as from the windowed ceiling. It is extremely comfortable on all levels and it was cool seeing a rainstorm from inside. [more]
Brown portrays a myriad of characters including her father, siblings, mother, and other family members seamlessly – giving the audience a taste of what the family dynamic was like. She recounts the joyful moments such as her parents meeting and falling in love as well as the sorrowful ones – the children discovering their mother’s drinking problem and then deciding how to share the responsibility when it came to an intervention. There is no doubt that this Irish family has personality – but the realness and strength emerges from the ashes. [more]
"Office Politics" written by Marcy Lovitch is not only an insightful production, but one that is timely and hits home for today’s society. Under Aimee Todoroff’s direction, Office Politics examines the impact of a racist comment in an office setting and the fight for justice to be served. The story line and overall message extends beyond the hierarchy of a typical corporate setting – where most times, major issues are swept under the rug to avoid excess attention – and shines the spotlight on the effects that ignorance and stereotypes have on an individual and the life she is fighting for every day. [more]
This compelling and moving solo play recounts Yoel's gradual coming out that starts in 1986 when he was ten in Caracas. Comical and dramatic incidents in his childhood, harrowing events during his high school and college years, and his arrival in New York City at the age of twenty-one are vividly presented. [more]
“It’s been a rough two years,” Mr. Jackson observed. Deaths in his family, a disintegrating romantic relationship, and becoming sober, were all detailed during his heavily autobiographical patter that was integral to this presentation. This quirkily handsome Broadway performer dazzled his fans with a variety of songs and personal anecdotes during this 95 minute presentation. Being openly gay has been characteristic of his career and this fact was expressed simply during his commentary. [more]
St. Peter's Episcopal Church in Chelsea was used to near perfect effect as the setting for all three acts of the opera. "Tosca"'s first act, which does, in fact take place in a church was, precisely because of the narrative, “easy” to stage, but the successful transformation of the St. Peter's Chelsea chancel into first, the emotional claustrophobia of the villainous chief of police's quarters and then, for the last act, the open air witness to revenge and tragedy resulted from the imaginative, effective stage direction and set management of Chelsea Opera's co-founders Leonarda Priore and Lynne Hayden-Findlay. [more]
Now in its fourteenth year, the remarkable Ensemble for the Romantic Century, founded by Eve Wolf, has been presenting musical programs of intellectual coherence and imagination, examining themes and subjects central to the development and character of the “long” nineteenth century, from the Enlightenment to the end of the Victorian Era. ERC's most recent production, The Sorrows of Young Werther, represents the best of this kind of production. Rich and subtle interdisciplinary critical and creative thinking informed the careful merging of a dramatic presentation of Goethe's novella, The Sorrows of Young Werther with Robert Schumann's Dichterliebe. The result was an evening of considerable artistic beauty and intellectual rewards. [more]
“Don’t step on the sand,” cautions the usher as she hands out programs and directs patrons to the their seats at The Gym at Judson. Indeed, the stage and floor is filled with sand that’s been artfully arranged into a barren vista of mounds and dunes. There is a concrete staircase leading to the roof of a small structure. Above is a rectangular screen where later images of the sky and a forest are projected. There is a concrete block with a pole in it on stage. Unfortunately Raul Abrego’s impressive set is the most outstanding feature of playwright Daniel Talbott’s cryptically titled and exasperating 90-minute War Is Hell fantasia, "Afghanistan, Zimbabwe, America, Kuwait. " [more]
This 90-minute intermission-less play is a comic and occasionally serious address to the audience by God who often sits on a large white couch as he revises The Ten Commandments. Some are kept and some are replaced by new ones during his arch analysis of human history. Angels Gabriel and Michael who also go out into the audience to take questions assist God. [more]
To celebrate The Victory Dance Project’s first anniversary, an inspiring and spirited program was presented at The Ailey Citigroup Theater. There was a selection of the company’s dazzling dances and their First Annual Artist for Peace award was presented to Renee Robinson. The personable and entertaining comedian Grant Cooper hosted the event. Mr. Cooper did a funny routine about an imaginary audition for The Alvin Ailey Company with clunky movements. Though humorous, as befitting the occasion he was often serious. [more]
“Is there anything left to discuss? There IS!” exclaimed Rob Fisher, artistic director of the 92nd Street Y’s Lyrics & Lyricists Series about "Fiddler on the Roof," in his introductory remarks to the concert “To Life! Celebrating 50 Years of ‘Fiddler on the Roof” with Sheldon Harnick.” A violinist and Klezmer clarinetist, who played tunes from that show, then joined him briefly before they settled in on stage with the other band members. The format of the presentation was to commemorate this milestone anniversary of that classic Broadway musical in a unique fashion. “Those expecting to hear the entire score of 'Fiddler on the Roof' will be very disappointed,” explained "Fiddler on the Roof"’s 91 year-old lyricist Sheldon Harnick, and the concert’s affable host. “These songs are twenty outtakes that were not heard in the final version.” [more]
Mr. LaBute achieved prominence by writing and directing the films "In The Company Of Men" (1997) and "Your Friends and Neighbors" (1998). These scabrous works were followed by the unsettling play "The Shape of Things" in 2001, where a young woman seeks to physically transform her nerdish boyfriend into the perfect man. In succeeding years New York City has seen the premieres of a succession of such idiosyncratic formulaic explorations of the relationships between men and women. Here, this shtick is weak and totally unrewarding. [more]
On May 6 and May 7, 2015 at Carnegie Hall, presenting a concert version of Franz Werfel and Kurt Weill's 1937 The Road of Promise, (Der Weg der Verheissung), The Collegiate Chorale conducted and directed by Ted Sperling undertook a near-daring project … and failed. The performance was uneven at best. The work was more interesting for its problems than its ultimate beauty or success. [more]
Godwin's talent in seamlessly operating the puppets is an impressive sight and the use of old-fashioned materials, such as a slide projector to represent a lab was a nice choice in this age of advanced technology. The classic "mad scientist" imagery is perfect for evoking historic New York. Some choices are definitely not for the squeamish and audiences should prepare themselves for certain sights and sounds that will definitely prompt a reaction. [more]
Founded in 1968, this theater company is, “…committed to the discovery and nurturing of new voices, and the continued support and growth of artists throughout their creative lives.” Ensemble Studio Theatre's 35th Marathon of New One-Act Plays: Series A fulfills this noble goal with its enticing and often quite remarkable variety of works. Series B and Series C will follow and all will run through several dates in June. [more]
In addition to his superior writing achievement, Mr. Roberts also plays the complex old codger, Uncle Jim. He has written a grand vehicle for himself, and his performance is as tremendous as his writing. Blusteringly entering, carrying a garish blow-up sex doll, and resembling a grizzled Duck Dynasty figure with a big scraggly beard, wearing a cap, camouflage gear and orange sneakers, he instantly gets laughs. With a unique, guttural, singsong twang, he delivers numerous zingers, but soon the pathos and depth of this disaffected character is poignantly revealed. [more]
This score is a pleasant folk music affair with puns, sincerity, and silliness. Other characters such as a grouchy doctor appear as cardboard cutout puppets, along with cardboard cutouts of various foods. The audience on stage occasionally joins in for bantering and comments, and holding up their cardboard food from their plates. ...Mr. Wright is an excellent puppeteer and Mr. Singer is a fine guitarist/composer, and the two have a great camaraderie and both sing very well. They created this good-natured show that is ably directed by Emily DeCola, with a breezy pace and lovely visual stagecraft. [more]
“Life Is,” from the 1968 Kander and Ebb musical "Zorba" as grandly performed by it’s original Tony-nominated cast member, Lorraine Serabian, was the show stopping highlight of the historical survey concert, Broadway by the Year: The Broadway Musicals of 1966 – 1990. With fiery hued hair, in a flowing black dress, tied with an elaborate gold belt, Ms. Serabian, fabulously recreated her theatrical moment of glory with this hard-edged anthem. Her deep, rich, expressive voice was matched with intense facial expressions that ranged from fierce to joyous. Mesmerizing on all levels, her performance of this one song felt like an entire concert all by itself. She was initially the understudy in the show, and was picked by director Harold Prince to replace the first actress during the out-of-town tryouts. [more]
In both concerts, eight artists played and performed together in the sort of flexible, happy collaboration which is possible only among colleagues of equal discipline, excellence and experience on the one hand and extended, mutually respectful friendship on the other. The Parthenia quartet members – Rosamund Morley/treble viol, Lawrence Lipnik/tenor viol, Beverly Au/bass viol and Lisa Terry/bass viol – were joined by theorbist Richard Stone, soprano Amy Burton, actor Paul Hecht and conductor Gary Thor Wedow. [more]
The press performance under review left audiences hanging on her every word, as Orlandersmith painted a picture of the challenging and draining relationship she had with her mother, including the arguments, the name-calling, the shame and her mother’s constant need for security and attention. Well-spoken and tuned into her emotions, Orlandersmith has a true ability to connect with a large room, making them feel every emotion and sensation that she was feeling. She didn’t sugarcoat one detail and her authenticity aided in processing each thought and feeling, and ultimately allowed Orlandersmith to rise above her past. [more]
Director Joe Tantalo’s striking, minimalist production has no scenery and virtually no props. It marvelously relies on purely theatrical imaginative devices. Mr. Tantalo’s accomplished, choreographic staging and the performances achieved yield often intense experiences. [more]
Instrumental to its success is the thrilling direction of Walter Bobbie. Combining sensitive performances with an inspired sense of stagecraft, Mr. Bobbie creates many visually striking tableaus and images that vibrantly and emotionally realize this often funny and often painful material. These qualities are enhanced by choreographer Josh Rhodes’ wonderful and plentiful Greek dance sequences that range from euphoric to menacing. [more]
The program consisted of three fairly short works, an intermission, and then the complete, relatively unknown Maddalena ai piedi di Cristo by Venetian Baroque master Antonio Caldara (1670-1736). The Church of St. Mary the Virgin provided an especially marvelous venue for this concert: the organic warmth of the American Classical Orchestra's period instruments and the singers' felicitous precision were exceptionally clear and clean in the high, mysteriously golden American Gothic space of The Church of St. Mary the Virgin in the Times Square area. The concert suffered only one difficulty: it was too long. Some people left starting around the middle of the second half; fortunately, their furtive, tip-toed departure did not disrupt the concentration of the musicians or compromise the performance. [more]
Charlie is an amiable, 31-year-old struggling actor, writer and motivational speaker, who chickens out while calling a woman from a Village Voice personal ad. He soon becomes romantically involved with Carol, a successful lawyer, and later the temperamental Susan, a controlling singer. During these complications, we meet an assortment of colorful best friends, sidekicks, and view a satirically enacted commercial casting session. Most crucial is “Charlie’s Head,” which is the theatrical device of his subconscious being represented by another actor. This alter ego is always present, commenting on the action with the honesty and insight that Charlie is often unable to articulate. [more]
Sandy Duncan and Don Correia, wearing shabby tuxedos, top hats, and Converse high top sneakers, beautifully dancing and singing, “A Couple of Swells,” was one of the many highlights of the 92 Y’s Lyrics & Lyricists Series’ "All Dancing! All Singing! Irving Berlin in Hollywood." Ms. Duncan and her husband Mr. Correia vibrantly demonstrated why they have had such enduring careers in show business, which have included a number of appearances on Broadway. Guest starring here, they effortlessly recreated that famous number from MGM’s 1948"Easter Parade," originally performed by Judy Garland and Fred Astaire, who replaced the injured Gene Kelly. The tune itself dated from 1917, when it had the unpopular title and lyrics, “Smile, and Show Your Dimple.” [more]
Clyne's music is a combination of electronic and recorded material on the one hand and live performance on the other. In both process and product, Clyne incorporates and is inspired by other creative media; her works can “stand alone” or in conjunction with their original collaborators. Two works originally conceived in collaboration were performed on April 23 “on their own.” Fits + Starts for amplified cello and tape (2003) was performed without dancers; Rapture for clarinet and tape (2005) was presented without the visual components that accompanied its original performances. [more]
On April 27, Symphony Space and Words on Dance presented “Christopher Wheeldon in Conversation with Rita Moreno: From Ballet to Broadway,” a delightful romp through the dancing career of one of Broadway’s brightest choreographers. The lecture was moderated and led by Oscar, Emmy, Tony and Grammy winning actor-singer-dancer Rita Moreno. Moreno’s conversation with Wheeldon was prompted by a series of film clips featuring him as a young dancer as well as brief segments of his past choreographic work with the New York City Ballet, the San Francisco Ballet, the Royal Ballet, the Joffrey Ballet, the Wheeldon Company, and his most current work in the new Broadway production of "An American In Paris" where he serves as both director and choreographer. It is the fusion of his classical European ballet training, his love for American music, American dance stars, and American dance that Wheeldon has established himself as a leading force in the world of dance. [more]
A play that has much opportunity to expose the relationship of casting director with actor, not merely across the table but across racial backgrounds and stereotypes begins as it promises. Enter Cobb, a large black man, anxiously awaiting the call of the casting assistant as he proceeds to unapologetically disturb the entire waiting room with his nervous behavior. The thought of playing Othello brings back memories of his youth and a single theater teacher unwilling to allow him to play any role other than that which he might be traditionally cast in for an assignment. As the character’s exposition is beginning to evolve, the casting agent interrupts us. We can tell the actor has an agenda to prove; that now as a grown man in this audition things will be different. [more]
The Nordic Fiddlers Bloc consists of Olav Luksengard Mjelva from Norway (hardanger and octave fiddles), Kevin Henderson from Shetland (fiddle) and Anders Hall from Sweden (fiddle and viola); the three met informally through mutual friends and colleagues and have been playing together seriously for some five years. Each artist has an extensive and stellar career apart from and in addition to Nordic Fiddlers Bloc. They live their professional lives in overlapping spheres of teaching and composing as well as collaborating, recording and performing with other artists and groups. As the competently English speaking Nordic Fiddlers Bloc, they have developed a congenial performance style that alternates humorously self-deprecating but helpfully informative banter with individual “tunes.” The evening had the feel of both formal concert and calmly funky gig. [more]
Rodriguez, Brown and McNeill all go that extra mile to establish a connection - and make eye contact with every single audience member contained on the three sides of the theater. As they share their stories, the emotion and passion used to bring out the truth in each of these East Village residents is well translated from a period in time to the present day. While the historical elements are fascinating and provide context, the ultimate theme of acceptance, finding a guiding light to outshine the world's cruelty, and celebrating life creates a lasting impact. [more]
The illustrious Chita Rivera appears in an elegant floor length white dress and bedecked with jewels. The grande dame’s presence electrifies the audience. Unfortunately, with little to work with, she postures and delivers McNally’s lines the best she can. Along with co-star Roger Rees as Anton Schell, her lover from the old days, she breathes some life into the song, “You, You, You.” When she dances, the ball is back in her court. There is a magnificent moment when she dances with her younger self (Michelle Veintimilla). Sensitively choreographed by Daniele, they do a sweet dream-like duet with grace and passion, the highlight of the evening. [more]
The ample set by John McDermott is an intelligent divide between interior and exterior life, the run down streets of Belfast and a humble, wooden and warm rectory. Contemplation goes on in both places, be it perils of war or morals. Famed film director Claudia Weill returning to the New York stage establishes this well. Each character has his or her place and is well defined. Weill has a clear vision of the conflict at hand. Impressive music, explosions and street noise punctuate the scenes artfully with sound design by Daniel Kluger. [more]
Shahid Parvez Khan comes from a long line – seven generations – of musicians and sitar masters. This fact is emphasized in both the musician's own and the World Music Institute publicity materials. Shahid Parvez Khan's ancestry is critically important for those who are well versed in both historical and contemporary Indian culture and music, but for those who know little about Indian music, it figures only as an interesting biographical fact. What is much more relevant to the listening experience is Shahid Parvez Khan's assertion that “the Sitar and Self are identical entities,” a statement confirmed by the experience of simultaneously watching and listening to the sitar player as well as his colleagues. [more]
Defaa’s direction is imaginative and is aided by the sensational choreography of Rayna Hirt, in creating precise, amazingly arresting production numbers with the large cast on the small stage. Standouts include a rousing military tap dance, Cole Porter’s “Find Me a Primitive Man,” with cast members dressed as cavemen, and a thrilling version of Noel Coward’s “Mad About The Boy,” with cast members wearing all black. [more]
Working from Simon Corble and Nobby Dimon’s 1995’s original concept, Patrick Barlow’s adaptation is a witty, tongue-in-cheek, homage that recreates the plot of the film, with comic flourishes. There are also verbal, musical and visual references to other Hitchcock films such as The Man Who Knew Too Much, North By Northwest, The Lady Vanishes, Vertigo, The Birds, Strangers On a Train, and Psycho. There’s an updated nod to Downton Abbey. [more]
“A dance of our actions to your reactions. No one knows the steps yet,” explains the charming and funny performer Colin Davis, during his introductory remarks to Séquence 8, a thrilling program of contemporary circus sequences. For 95 minutes, there is one often dazzling number after another, performed by this Montreal- based troupe of eight, athletic, international, youthful performers. Their physical prowess is combined with modern dance choreography, acrobatics, verbal and visual comedy, a lively score of original music and pop songs, and striking lighting. [more]
The Hindemith was beautifully performed and the second half of the concert was successful. But the first half, the Adams, was not a success. It was not an abject failure – Hayes wouldn't permit that – but the performance did not produce the kind of considered satisfaction that New York Choral Society concerts typically do. The reasons for this lay in the nature of Adams' piece and in particular features of the performance itself. [more]
An actor in a suit wearing a pony mask and a tail trots out on stage a few times and later appears some more times without the mask to sing. A woman in a burqa (ordered from Amazon) walks around with a laptop. An ensemble of relatively mature women cavorts as high school cheerleaders, one of whom has sex with the pony. This same multi-racial group have another production number as all of them portray teen detective Nancy Drew. The show opens and closes with a young girl dressed as a boy in a seersucker shorts suit who sings. The drawn out finale involves a bunch of polygamous wives wearing different colored pastel gowns and singing what is called “Oratorio.” These are among the David Lynch-type surrealistic flourishes on display. [more]
