Marakay Rogers - Page 17

JB Priestley's classic social commentary that plays like a drawing room mystery is on stage at Oyster Mill.

NICE WORK IF YOU CAN GET IT is not at Hershey Theatre long enough. It needs to be there longer. It's not perfect, but it sure is swell, and it's all-Gershwin, all the time.

Dutch Apple Dinner Theatre is the launching pad for a new musical revue celebrating the joys and pains of middle age. From aches to zumba, nothing is sacred.

Theatrical Rights Worldwide wanted a new version of GHOST: THE MUSICAL for regional theatres. Director Marc Robin's initial publicly-presented revisions reveal an entirely new face of Bruce Joel Rubin's stage version of his beloved film. It's spare, clean, and shows signs of major improvement to a flawed musical.

Stuart Landon returns as Macys' most demented elf, the only slightly insane Crumpet.

Irving Gonzalez and cast serve up an ANNIE that's not too sweet and just about right for even the most jaded audience members.

A movie alone cannot contain the greatness of Buddy the Elf. So they gave him a bigg, splashy, sparkly musical.

The story of the founding of Alcoholics Anonymous takes a dramatic turn at Open Stage

Director/Choreographer Marc Robin brings home a dance extravaganza of the Irving Berlin holiday musical

Performers Charles Busch, Anita Gillette, Diana Templeton, and Kevin Schwab were coronated as the Royal Family of the 108th Beaux Arts Ball.

Western Carolina University has revived the classic 42ND STREET with its original choreography by Gower Champion. You can't get better than that for a dance musical.

Actor-singer Ronnie Giles and jazz pianist Daryl Kojak took stage at Don't Tell Mama once again to take the REVENGE OF THE THIRD RATE LOUNGE SINGER

Dutch Apple's annual Christmas show is a musical version of the classic Frank Capra film, perfect for anyone in love with the story

Oyster Mill Playhouse closed its season with a hysterical British bedroom farce, one of Oyster Mill's strongest suitsRay Cooney is England's king of the bedroom farce, best known for his RUN FOR YOUR WIFE and for IT RUNS IN THE FAMILY. But his late 60's-early 70's set MOVE OVER MRS. MARKHAM may be funnier than either of those. It's definitely the sort of play that should be on the Oyster Mill Playhouse stage where, fortunately, it has been now. Oyster Mill has the configuration for farce, as well as intimate seating allowing audiences to miss no hilarious move, much less the necessary entrances and exits for the best farces.

There is a great deal of musical theatre out there. Not all of it - sometimes very little of it - manages to be true musical comedy. On the other hand, there are a few musicals that are nothing but comic, that have no reason for existence other than to be riotously cheerful, that audiences simply must laugh at helplessly while risking collapse. Of them, Stephen Sondheim's A FUNNY THING HAPPENED ON THE WAY TO THE FORUM may be the funniest. It is presumably a musical farce, but it is really vaudeville pure and simple, turned into two hours or so of spurious Roman history and laden with some of Sondheim's most delightfully silly songs.

'The Decembrist' was the fall finale for THE BLACKLIST, which will be back on Super Bowl Sunday, and amazingly, we got a couple of answers. Sure, we got a lot more questions, but we got a couple of answers. We also got two dead major recurring characters, an explosion, and the discovery that The Box is explosion-proof for sure. What answers did we get? Well, The Decembrist, who set up Berlin and Red, and is number 12 on the list, turns out to be Alan Fitch. Fitch's job title turns out to be Assistant Director of National Intelligence, whatever job that is. Fitch turns out dead. And Not-Tom? Oh. That. First off, he's gotten away. Second? Don't tell Liz, but… well, why spoil the surprise?

This week THE BLACKLIST returns to its roots, a villain with an interesting moniker: 'The Scimitar' (number 22 on the list). Alas, unlike The Stewmaker or The Courier, Mr. Scimitar doesn't have a fascinating hook; he's just an Iranian assassin. It's probably The Scimitar's lack of fabulousness that makes the episode less than sterling. On the plus side, however, we get lots of the totally fabulous Agent Samar Navabi doing her thing. We get plenty of Not-Tom information, and an interesting disclosure about his actual location. And Red makes a revelation that is almost as surprising as the discovery that Liz didn't kill Tom… in short, a major no-surprise. And something feels like this series is going off track

Arabella Beaumont, heroine of DEATH OF A COURTESAN, is back with a small problem of stolen Roman erotic sculptures.

Artistic director Ed Fernandez breathes new insights into one of the deepest plays in musical theatre

The legendary performer talks about her upcoming film, OFFER AND COMPROMISE, and about her current television roles, as well as the delight of villainy in WICKED