Calvin Berger<br> Review By MICHAEL SOMMERS
A cheerful little winner.
A cheerful little winner.
Legit helmers Nicholas Hytner, Bartlett Sher, Peter Sellars and Robert Lepage are among the creatives lined up for the 2010-11 season at the Metropolitan Opera.
"The Last Goodbye," a rock-tuner adaptation of "Romeo and Juliet" featuring the songs of Jeff Buckley, is gearing up to preem during the 2010-11 legit season.
Presidents Day break frame leads to healthy B.O.
Piece never wears out its welcome, but the baffling production obfuscates the finer points of the characters' relationships, which are delicately fleshed out in Kinevane's brief script.
It's rudeness bordering on hostility to invite people over to your Chelsea penthouse, shove your flawless view of the Empire State Building in their faces, then spend the next two hours tossing back cocktails without offering them a drink. But what would The Boys in the Band be without shabby treatment of the guests? The Transport Group's site-specific production puts the audience in the thick of Mart Crowley's bitterest of birthday parties. It plants us right in the firing line when the quips give way to earnest self-loathing and the vitriol starts flying through the air like daggers in a knife-throwing act.
In Clybourne Park, Bruce Norris speaks to that thing people always say about a house with a lot of history: "If these walls could only talk." When the play opens in Chicago in 1959, the modest home in a nice neighborhood that a white couple has just sold to a black family (think A Raisin in the Sun) is already burdened with one dark secret. That secret will resurface in 2009, when a white couple prepares to move into the now-run-down old house in what has become a black neighborhood. But while the walls do talk, they don't speak with any real strength of conviction.
Playwright's work will be read at different venues
In the searing performances of director Ethan Hawke's first-rate cast, there's a matching sense of being embedded deep in the violent, hallucinatory world of a play that remains ferociously …
It's not the starry cast list that's the standout element of Broadway play "A Behanding in Spokane." It's the star name in the playwright slot.
Playwrights are hardly financially exploited
With this song cycle at St. Ann's Warehouse, Stew displays curiously linked talents for painfully funny, honest songwriting and self-sabotage.
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Nobody likes to admit it, but it's a lot harder for girls to leave home than for boys.