Richard Termine News

It was a fitting gesture that the Met dedicated this season's performances of Verdi's MESSA DA REQUIEM to the great baritone Dmitri Hvorostovsky, who died on November 22 of brain cancer, at 55. The Russian Hvosotovsky may not have had the largest voice ever heard in his chosen repertoire--the last time I heard him was in IL TROVATORE with Netrebko--but it was unquestionably distinctive and exciting to hear. And he was a powerful stage presence second to none something that the Met has found difficult to muster from its soloists these days.

Two weeks remain to catch Manhattan Theatre Club's acclaimed fall off-Broadway offerings at New York City Center - the world premiere production of The Portuguese Kid, the new play written and directed by Tony, Pulitzer Prize, and Academy Award winner John Patrick Shanley and starring Jason Alexander, Pico Alexander, Aimee Carrero, Sherie Rene Scott, and Mary Testa; and the New York premiere of Actually, the new play by Anna Ziegler, directed by Lileana Blain-Cruz, and starring Joshua Boone and Alexandra Socha.

Simply stated, you'll love 'The Mad Ones.' The NYC premiere of this musical is now onstage at 59E59 Theaters through December 17. The show features book, music and lyrics by Kait Kerrigan and Brian Lowdermilk, direction by Stephen Brackett, choreography by Alexandra Beller and an exceptional cast.

If the spot-on hilarity of first scene of director/playwright John Patrick Shanley's THE PORTUGUESE KID could be replicated for the play's remaining three-quarters, this review would be happily exclaiming that New York has got a solid, old-school sexy romantic comedy in town.

Theatre Communications Group (TCG), the national organization for theatre, is pleased to announce the recipients of the second round of the 2017 Edgerton Foundation New Play Awards.

Regarded by The Public Theater's artistic director Oskar Eustice as a resident company of the Astor Place venue, Elevator Repair Service's niche has always been productions with a clear focus on words, such as their fully staged complete-text reading of F. Scott Fitzgerald's 'The Great Gatsby,' titled GATZ, or ARGUENDO, their legal vaudeville centered on documents pertaining to a Supreme Court case regarding strip clubs and the First Amendment.

Works & Process at the Guggenheim presents Sergei Prokofiev's charming children's classic Peter & the Wolf.

Elevator Repair Service's MEASURE FOR MEASURE, created by Elevator Repair Service and directed by John Collins, began previews on Sunday, September 17 and runs through Sunday, November 12, with an official press opening tonight, October 10 at The Public Theater. BroadwayWorld has a look at the cast in action below!

I wouldn't exactly call Matt Aucoin, 27, a show-off, even though he wrote the music and libretto for THE CROSSING--his 2015 opera having its NY debut at BAM's Next Wave Festival this past week--and conducted the performance as well. (He left the subtle, fine direction to Diane Paulus, who originally mounted it at the American Repertory Theater in Cambridge, MA, where it was commissioned for the National Civil War Project.) But I would say he's remarkably (and justifiably) confident.

Musica Viva NY opens its 40th anniversary celebration season, with a concert entitled The Wheel and the Sphere on Sunday, November 12 at 5:00 p.m. at All Souls Church on the Upper East Side.

The Portuguese Kid, a new play written and directed by Tony, Pulitzer Prize, and Academy Award winner John Patrick Shanley, is currently in previews ahead of a Tuesday, October 24 opening night at MTC at New York City Center - Stage I (131 West 55th Street). Performances began Tuesday, September 19. BroadwayWorld has a first look at the cast in action below!

Elevator Repair Service's MEASURE FOR MEASURE, created by Elevator Repair Service and directed by John Collins, began previews on Sunday, September 17 and runs through Sunday, November 12, with an official press opening on Tuesday, October 10 at The Public Theater. BroadwayWorld has a first look at the cast in action below!

SIMPATICO, A Red Orchid Theatre production, now on stage at McCarter Theatre Center, comes to Princeton just three months after its playwright, Sam Shepard died. But from the start, even in the dark and before the electric Michael Shannon speaks his first lines, the air is charged with the spirit of the prolific playwright. Something unexpected is going to happen.

Little Shadow Productions, in association with HERE, is pleased to share a first look at THE JOSHUA SHOW: EPISODE 2, written and performed by award-winning puppeteer Joshua Holden (Avenue Q National Tour), with live musical stylings by Jeb Colwell, and directed by Jessica Lazar.

This October, American Repertory Ballet (ARB) will present a new triple-bill program in New York City and in New Brunswick, N.J. The performance features work by American Repertory Ballet's Resident Choreographers Kirk Peterson and Mary Barton: Peterson's Carmen and The Eyes that Gently Touch and Barton's Straight Up with a Twist.

While the underrepresentation of women playwrights in contemporary American theatre remains an important issue, the Mint Theater Company, those invaluable specialists in rediscovering interesting obscurities from authors who are no longer with us, continue their practice of highlighting their seasons with contributions from a rich theatrical legacy of nearly forgotten women writers of the past.

The International tour of EVITA will perform in Japan at Tokyo's Theatre Orb from July 2 to July 8, 2018.

BWW speaks to Jack Trinco about bringing Death Part 7: The Last Word to the 2017 Edinburgh Festival Fringe.

Mike Shepherd is an actor, director, teacher and the Artistic Director of Kneehigh. He started Kneehigh in 1980 and has worked almost exclusively for the company ever since. He is currently playing King Mark in their acclaimed production of Tristan & Yseult and is about to direct a new production of The Tin Drum. We met in the surrounds of the Bristol Old Vic Backstage Bar to talk.

One look at the country home setting designer Vicki R. Davis has devised for The Mint Theater Company's intriguing revival of A.A. Milne's rarely visited THE LUCKY ONE and a playgoer wouldn't be blamed for anticipating a night of vintage bon mots and comedy of manners gracefulness.