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Kurt Weill

American One Acts, a double bill

June 8, 2023

The little OPERA theatre of ny has become known for its adventurous programing of rarely seen and heard operas in English including the New York premieres of Benjamin Britten’s opera for television, "Owen Wingrave,"  and Carlisle Floyd’s final work for the stage, "Prince of Players," as well as new translations of works by Gluck, Mozart and, Rossini. Now in association with Harlem Opera Theater and National Black Theatre, they have presented an unusual double bill of contrasting "American One Acts," both set in the American South. Act I was a performance of "Highway 1, U.S.A." (1962) by William Grant Still, called the Dean of African American Composers, and the first Black composer to have an opera performed by a major company, his "Troubled Island" premiered by the New York City Opera in 1949. The second half of the bill was Kurt Weill’s "Down in the Valley," a folk-opera intended for schools and community groups, written for the radio in 1945 and then revised for stage production in 1948 at Indiana University by the Bloomington Opera Workshop. After its premiere it had 85 amateur productions in the following ten months. However, it has not remained in the repertory. [more]

One Night Only: An Evening with Heather Headley and The New York Pops

February 13, 2023

Pairing The New York Pops with Broadway star Heather Headley brought out the best in each.  The energy zipping between the orchestra’s music director Steven Reinecke and Headley was palpable. The program was a wonderful musical portrait of Headley.  Reinecke, and Headley’s accompanist and personal music director, Ron Colvard did not just support her but became “the wind beneath her wings.” [more]

Lady in the Dark

January 31, 2023

Unfortunately, this is musical comedy and does not need operatic voices, Lawrence being famously a singer with a very small range, while Kaye came from cabaret and night club. With all of the leads double cast, Sunday matinee’s singers seemed either miscast or poorly directed by Eric Lamp and Benjamin Spierman. Matthew Imhoff’s sets which are carried on and off by the singers took an inordinately long time and there were moments of dead time during office scenes which also seemed underpopulated. While conductor and artistic director Michael Spierman gave a creditable performance of the complete score, it did not seem to hang together but felt like individual numbers, unlike many other Weill scores which feel integrated and whole. [more]

Sacco and Vanzetti: A New American Opera

September 20, 2022

The finished score by Lehrman is 50% music he created based on themes by Blitzstein: pieces of his unproduced 1932 opera "The Condemned" (an earlier work about Sacco and Vanzetti), a march, a cabaret song, a song cycle, a piano piece for mezzo-soprano Brenda Lewis who had starred in Blitzstein’s 1949 opera "Regina" (based on Lillian Hellman’s "The Little Foxes"), and portions of 13 songs from "Reuben, Reuben," his 1955 folk opera set in Little Italy which failed in Boston and which he had been recycling in later works. Blitzstein’s libretto for the three-act "Sacco and Vanzetti"(performed at Lehman College in two parts) was based on transcripts, letters, and interviews with the principals involved in the case. One addition approved by the estate was the inclusion of Governor Michael Dukakis’ exoneration of Sacco and Vanzetti in 1977, the 50th anniversary of their execution, as a fitting new ending to the opera. [more]

The Legend of the Waitress & The Robber

May 27, 2022

Written by Renee Philippi, this witty mockery of authoritarianism is derived from Friedrich Schiller’s play "The Robbers" and the Korean novel "The Story of Hong Gildong." Composer and lyricist Lewis Flinn’s smart original score joyously recall’s Kurt Weil’s galvanizing melodies and Bertolt Brecht’s biting lyrics. It’s rousingly rendered by musical directors Jacob Kerzner and Hee Eun Kim. [more]

Michael Mao Dance 2019

May 31, 2019

Michael Mao Dance is celebrating 26 years of presenting Mao’s work and if his recent program at the Ailey Citigroup Theater is any evidence, there is reason to believe he will continue for another 26 years.  His works are varied, yet clearly come from the mind of the same artist. [more]

Lady in the Dark

May 9, 2019

MasterVoices performed a beautifully sung and played rendition of the legendary 1941 musical "Lady in The Dark" as part of New York City Center’s 75th Anniversary Season for three sold-out performances. Conducted and directed by MasterVoices’ artistic director Ted Sperling and starring Tony Award winner Victoria Clark as heroine Liza Elliott, the production offered a world premiere of a new adaptation of the Moss Hart book by Christopher Hart (the author’s son) and Kim Kowalke, and the complete critical edition of the Kurt Weill/Ira Gershwin score. While the musical portions were excellent, this concert version only made clear the strengths and weaknesses of this rarely revived musical play. [more]

Richard Holbrook: It’s Time for a Love Song: The Lyrics of Alan Jay Lerner

September 27, 2018

Holbrook’s enduring youthful presence, twinkling charm and commanding vocal authority make him the ideal vessel to channel Lerner’s monumental achievements. Through his concisely informative commentary that is perfectly interlaced with 25 songs, we learn Lerner’s biographical essence. Wit, Harvard, Broadway, Hollywood, eight marriages, triumphs, flops and death at the age of 67 in 1986 are all crisply detailed during 80 fast-paced minutes.  The presentation is a model of the tributary concert with its wide-ranging array of rarities, never before heard selections in addition to classics. The dramatic lighting and polished sound design coordinated by Rocky Noel added to the show’s depth. [more]

The Sarasota Ballet: Summer 2018

August 17, 2018

The Sarasota Ballet, under the direction of Iain Webb, a former leading dancer with the Royal Ballet, has, to the benefit of the dance world, been collecting works by the British master choreographer, Sir Frederick Ashton.  Even Ashton’s artistic home base rarely performs his work, despite the fact that that troupe’s elevation from Sadler Wells Ballet to Royal Ballet was largely due to Ashton’s efforts.  (The troupe’s repertory also includes works by Ashton’s contemporaries, such as Antony Tudor, Dame Ninette de Valois, Agnes de Mille and Michel Fokine.) [more]

On The Town…With Chip Deffaa…Sept 9, 2017

September 9, 2017

In the first half of her career, Barbara Cook was a top leading lady in musical theater, famously originating roles in such Broadway shows as “The Music Man” and “She Loves Me.” (Decades later, she could still sing for me at her home lines of “My White Knight” that had been cut from the score of “The Music Man” before it opened on Broadway in 1957.) [more]

Me the People: The Trump America Musical

July 2, 2017

The animated and charismatic Mr. Spitaletta is the standout of the cast, vibrantly appearing in numerous roles.  Highlights of his portrayals are a commanding Russian agent spoofing Danny Kaye’s tongue-twisting patter number "Tschaikowsky (and Other Russians)" from Kurt Weil’s "Lady in The Dark," and a rollicking caricature of Richard Nixon. Mr. Spitaletta is an ever-present delight. [more]

Love for Sale

January 26, 2017

The concept of Love for Sale, though not particularly original, is not a bad one, except for one very important factor: Ms. Burke is not up to either the singing or acting demands of Love for Sale, a voyage from innocence to jaded sophistication as told in mostly dark, melodramatic songs, ironically influenced by the American films that flooded Europe in the twenties and thirties. It’s an extraordinarily difficult repertoire that constantly threatens to be silly expressions of impossibly colorful and desperate characters. [more]

Saloons: Some Enchanted Evenings

May 14, 2016

Cabaret has always been a mixed bag. The golden age is gone. However, in today's schizo world of nightclubs, things are looking pretty good. It is a milieu unique in the entertainment industry. And, it continues to reinvent itself. The late cabaret critic Martin Schaeffer wrote in Back Stage in 1993,“There cannot be a better night of classic American music than a Bobby Short gig at The Carlyle.” He was right; especially if you're a purist of the Great American Songbook. [more]

Sokolow Theatre/Dance Ensemble

March 17, 2016

“Ride the Culture Loop” (1975) to dark, percussion-heavy music by long-time Sokolow colleague, Teo Macero, pitted small groups of dancers against each other, all seemingly trapped in a nightmare of frustration symbolized by jutting elbows, pained expressions and tense pile-ups that led inevitably to one dancer being lifted high and slowly rotated only to be subsumed back into the flailing bodies a second later. Dressed in hippy-ish jeans and colorful tops, they seemed more concerned with their inner turmoil than communicating with each other. The tense movements gave the work a thick, emotional veneer. “Ride the Culture Loop” was staged by Samantha Geracht. [more]

Midtown Int’l Theatre Festival Spring: March 7 – 27, 2016

February 7, 2016

Powerful and unique themes pervade this series of works including spirituality and "the other side;" sexuality and relationships and its burgeoning diversity; the power of - and within - women; the casualty of war - and the casual way we look at it; fine art; the church; crippling illness from the point of the crippled; redemption; and myriad more are explored in under two hours! [more]

Rise and Fall

September 24, 2015

Before its increasing gentrification, the Lower East Side was an outpost of creative expression. That the BREAD Arts Collective theater company presents this work in a space there adds an ironical dimension that perfectly suits the sensibility and concerns of Brecht. [more]

The Collegiate Chorale: The Road of Promise

May 30, 2015

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]

Broadway by the Year: The Broadway Musicals of 1916-1940

February 28, 2015

Director Mindy Cooper’s very well executed transitions between the show’s 27 numbers, the personable Scott Siegel’s erudite remarks, and the variety of gifted performers who participated made "Broadway by the Year: The Broadway Musicals of 1916-1940" a brisk and very enjoyable event. [more]