Friday, January 28, 2022

Review: At City Ballet, Giving Voice to the Body, With Sneakers by Gia Kourlas

Justin Peck’s “Partita,” set to Caroline Shaw’s Pulitzer-Prize winning composition, opened New York City Ballet’s winter season at Lincoln Center.

SOURCE: The New York Times Subscription at 01:01PM

What Do Dancers Bring to a Halftime Show? They Complete the Picture. by Gia Kourlas

Some dancers recoiled at the prospect of volunteering their services at this year’s Super Bowl halftime show: “You can’t make a living off of exposure.”

SOURCE: The New York Times Subscription at 12:29PM

Citing Pandemic, This Year’s Obie Awards Will Include Streaming Theater by Michael Paulson

For the first time, digital, audio and other virtual productions will be considered for the honors, for Off and Off Off Broadway works.

SOURCE: The New York Times Subscription at 09:18AM

Los Angeles Is Changing. Can a Flagship Theater Keep Up? by Adam Nagourney

Navigating the pandemic and a shift in leadership, the Center Theater Group is trying to get back its old audience, and find a new one, while rethinking its mission and programming.

SOURCE: The New York Times Subscription at 08:42AM

Watch the Throne: How Joel Coen Made ‘The Tragedy of Macbeth’ by Dave Itzkoff

When your whole filmmaking career has been one of unexpected twists and turns, how do you surprise yourself? Adapt a Shakespeare play.

SOURCE: The New York Times Subscription at 05:36AM
Thursday, January 27, 2022

At the Exponential Festival, Case Studies in Category Busting by Elisabeth Vincentelli

Two years into the pandemic, this festival, which has gone virtual for now, abjures traditional theatricality and performance.

SOURCE: The New York Times Subscription at 02:48PM

At City Ballet, Jamar Roberts and Dancers Find a Common Language by Marina Harss

“I was thinking about Balanchine a lot,” said Roberts, Ailey’s choreographer in residence, who is making his first work for New York City Ballet.

SOURCE: The New York Times Subscription at 10:00AM

Martyrs, Converts and Pious Frauds: Religion Takes Center Stage by Laura Cappelle

Three Paris productions — including Ivo van Hove’s take on “Tartuffe” at the Comédie-Française — explore questions of the divine.

SOURCE: The New York Times Subscription at 05:48AM
Wednesday, January 26, 2022

Review: In ‘Skeleton Crew,’ Making Quick Work of Hard Labor by Jesse Green

Dominique Morisseau’s 2016 play, now on Broadway, is a swift, well-crafted look at factory workers trapped in an economic “dumpster fire.”

SOURCE: The New York Times Subscription at 09:33PM

Broadway Grosses Fall, but Average Attendance Rises, as Shows Close by Michael Paulson

Theaters were a bit more crowded, but there were fewer shows running as several closed amid the spread of the Omicron variant.

SOURCE: The New York Times Subscription at 12:33PM

Teresa Reichlen Retires From New York City Ballet by Joshua Barone

A principal dancer since 2009, Reichlen will make her final appearance in George Balanchine’s one-act “Swan Lake” on Feb. 19.

SOURCE: The New York Times Subscription at 10:00AM

After 16 Years in ‘Hadestown,’ Anaïs Mitchell Emerges With a New Album by Lindsay Zoladz

The singer-songwriter fully plunged into her acclaimed theater project. Since then, her life changed wildly — and she recaptured the desire to record her own music.

SOURCE: The New York Times Subscription at 05:18AM

In 'Black No More,' the Evolution of Black Music, and a Man’s Soul by Marcus J. Moore

The new show “Black No More,” inspired by a 1931 satirical novel about race relations, has “the point of view of people who are very much products of now.”

SOURCE: The New York Times Subscription at 05:18AM
Tuesday, January 25, 2022

Review: A Shorter ‘Long Day’s Journey,’ Now With N95s by Jesse Green

The Eugene O’Neill classic, set in 1912, is just as powerful in Robert O’Hara’s revival, set in our own age of disease and lockdown.

SOURCE: The New York Times Subscription at 09:33PM

Sondheim’s ‘Assassins’ Ends Run Early Because of Coronavirus Cases by Matt Stevens

The sold-out production had been scheduled to run through Jan. 30, but decided to cancel its few remaining performances.

SOURCE: The New York Times Subscription at 05:54PM

The Black List, Founded in Hollywood, Expands Into Theater by Michael Paulson

The project seeks to connect undiscovered writers with industry gatekeepers.

SOURCE: The New York Times Subscription at 11:33AM

Justin Peck and Collaborators Combine Gravitational Universes by Roslyn Sulcas

For his new work at New York City Ballet, Peck enlisted the composer Caroline Shaw and the artist Eva LeWitt: “It has really felt like a back-and-forth conversation.”

SOURCE: The New York Times Subscription at 11:19AM

Touring Through Omicron: Broadway Shows Hit Bumps on the Road by Michael Paulson

Audiences are enthusiastic, but casts are vulnerable, as companies travel from city to city, trying to revive a key part of the theater economy.

SOURCE: The New York Times Subscription at 09:06AM
Monday, January 24, 2022

Review: ‘Just for Us’ Reaches Across the Chasm by Laura Collins-Hughes

The return of this brisk, smart provocation of a monologue is a cheering development, all the more so because it’s a belly-laugh funny show.

SOURCE: The New York Times Subscription at 08:33PM

Stephen Sondheim Leaves Rights to His Works to a Trust by Michael Paulson

The trust will determine what happens to the intellectual property of the celebrated lyricist and composer, who died in November.

SOURCE: The New York Times Subscription at 03:42PM

Jonathan Freeman, Jafar in ‘Aladdin,’ Hangs Up His Cobra Staff by Matt Stevens

He voiced the evil sorcerer in the Disney movies, and originated the character in the Broadway production. On Sunday, he took his final bow in the show.

SOURCE: The New York Times Subscription at 12:48PM

‘Harry Potter and the Cursed Child’ Fires Its Harry Potter by Michael Paulson

The Broadway production dismissed the actor James Snyder, citing unspecified concerns about his conduct after an investigation of a complaint by a castmate.

SOURCE: The New York Times Subscription at 09:54AM

City Ballet Promotes Seven Dancers as Performances Resume by Gia Kourlas

A crew of corps de ballet members, six women and one man, head into the delayed winter season with a new rank: soloist.

SOURCE: The New York Times Subscription at 08:45AM
Sunday, January 23, 2022

Taylor Mac Enfolds Everyone in "The Hang," an Operatic Opportunity for Communion. by Laura Collins-Hughes

This opera, by Mac and Matt Ray, is as much a celebration of theater itself as it is an example of the communion humans crave but have been deprived of.

SOURCE: The New York Times Subscription at 03:33PM
Friday, January 21, 2022

Brian Cox Takes Stock of His Eventful Life on Stage and Screen by Alexandra Jacobs

In “Putting the Rabbit in the Hat,” the actor currently thriving as Logan Roy in “Succession” recounts his Scottish upbringing, his years in the theater and his experiences in Hollyw…

SOURCE: The New York Times Subscription at 03:12PM

A Reimagined ‘Long Day’s Journey Into Night’ for the Covid Era by Juan A. Ramírez

Robert O’Hara directs a trimmed-down revival of Eugene O’Neill’s classic, with a colorblind cast and a weary eye on the pandemic and the opioid crisis.

SOURCE: The New York Times Subscription at 02:06PM

After Being Stuck in Russia, Kirill Serebrennikov Directs a Play in Germany by A.j. Goldmann

Kirill Serebrennikov is living under a three-year travel ban, but to his surprise, Russian authorities approved his request to direct a play in Hamburg.

SOURCE: The New York Times Subscription at 12:18PM

Do Men Still Rule Ballet? Let Us Count the Ways. by Margaret Fuhrer

Elizabeth B. Yntema’s Dance Data Project has been using a steady drumbeat of numbers to push the ballet world to action on gender equality.

SOURCE: The New York Times Subscription at 10:00AM

Augmented Reality Theater Takes a Bow. In Your Kitchen. by Andrew Dickson

The Interactive Storytelling Studio at the National Theater in London is using technology to bring a miniature musical to viewers’ homes. It’s one of several high-tech British projects p…

SOURCE: The New York Times Subscription at 09:18AM

Review: ‘Addressless’ Is on the Streets and in Your Home by Alexis Soloski

This hybrid of theater and game asks us to consider homelessness empathetically but can’t overcome the friction between education and entertainment.

SOURCE: The New York Times Subscription at 07:33AM

All that Chat

REOPEN BROADWAY SEASON
Sep 14, 2021: Chicago - Ambassador Theatre
Oct 17, 2021: Dana H. - Lyceum Theatre
Mar 28, 2022: Plaza Suite - Hudson Theatre
Apr 07, 2022: The Minutes - Studio 54
Apr 28, 2022: Macbeth - Lyceum Theatre