Richard Strauss

The Tempest (Teatro Grattacielo)

July 21, 2026

Don’t attend the world premiere of Joseph Summer’s new opera version of William Shakespeare’s "The Tempest" expecting to recognize the text or the characters. Both the libretto by Eve Summer and staging by Teatro Grattacielo’s artistic director Stefanos Koroneos have done their own thing with the original. If you don’t read the program notes before the performance you may be rather confused as to the approach. According to the statement from Koroneos in the program, he imagines Prospero, normally the deposed Duke of Milan, as a film director inside a crumbling 1980s film studio. The enchanted island is filled with inflatable tropical plants, cheap plastic pink flamingos and plastic vines, with a cameraman quietly recording it all. Prospero, previously a magician in thrall to his books, is here seen at an old-fashioned typewriter turning out pages to what one assumes is his latest screenplay. However, if you have not read the notes none of this will be obvious. You may find yourself confused by the typing. [more]

Harmony

April 18, 2022

Although 25 years have gone by since "Harmony" first tried out at the La Jolla Playhouse in San Diego, the Barry Manilow/Bruce Sussman musical about the Comedian Harmonists is still relevant and timely. This historical musical based on true events which took place mainly in Germany from 1927- 1935 is a necessary reminder of the rise of Nazism and the naïve people who thought it would blow over. Produced by the National Yiddish Theatre Folksbiene at the Museum of Jewish Heritage, "Harmony" could not be in a more fitting setting to tell this story. Directed and choreographed by Warren Carlyle, the musical has been given a big Broadway-style production for its first New York appearance starring Chip Zien and Sierra Boggess as well as a cast of featured players. [more]

Salome

October 15, 2018

This M-34 production, under Rutherford’s direction, doesn’t rise to stratospheric heights. Quite the opposite: Rutherford’s direction and writing turns Salome into a fascinating domestic comedy/drama, an interesting interpretation, even a witty interpretation, but one that avoids piercing the audience’s minds. He keeps the actors watchable with an in-your-face directing style. Earnest and energetic as it is, he never squeezes fresh revelations from the text. [more]

American Ballet Theatre: Whipped Cream

July 5, 2017

Richard Strauss’ surprisingly lighthearted score was first staged as a ballet in 1924 to a libretto he also wrote. Strauss is, of course, best known for his serious, dark operas ("Salome," "Elektra," "Der Rosenkavalier," "Die Frau ohne Schatten"). This work, originally "Schlagobers" in German, appears to be a whimsical musical detour that, happily, has landed in the hands (feet?) of the very much in demand Ratmansky who, with the superior creative support of Mark Ryden (sets and costumes), Brad Fields (lighting) and, of course, the talented dancers of the American Ballet Theatre produced a candy-colored entertainment that might just serve as its new Nutcracker, a ballet that appeals to both children and adults. [more]