Marakay Rogers - Page 29

On March 28, 2009, any number of other things may have happened, but for some cabaret fans, the date marks the first performance by the cabaret group BENDING THREADS. In an area where groups come and go, that they've stayed together performing for four years and are still going strong is a prime indication that something is working - as are their 2010 and 2011 nominations for Best Group and Best Musical Director from Manhattan Association of Cabarets and Clubs.

The Upper West Side club, with great food and entertainment, is affordable, welcoming, and fun -- and won't leave an out-of-towner feeling out of place.

The short Webber classic becomes a montage of stage dance history as Marc Robin reinterprets JOSEPH as a celebration of great choreographers

The former VOGUE AUSTRALIA editor lifts the lid on how to get to the top, though not always how to stay there, and discloses some startling truths about the fashion industry in the process.

Artistic Director Emeritus Thomas Hostetter brings the classic tale of corporate greed and the evils of pay toilets to the Theatre Harrisburg stage

Some shows are iconic, known by everyone - that would be LES MISERABLES. Others are iconic and not known, best identified by individual songs that everyone knows by heart, while many people know the songs and have no clue that they are show tunes. That would be THE ROAR OF THE GREASEPAINT, THE SMELL OF THE CROWD. Leslie Bricusse and Anthony Newley wanted to recreate their success in STOP THE WORLD - I WANT TO GET OFF, and the result was the show that gave us 'Who Can I Turn To?' Opening in England in 1964, the show was slight enough not to open in the West End, but David Merrick decided to give it a chance on Broadway.

The Boston Modern Orchestra Project provides a fine recording of Martin Boykan's works for full orchestra, with soloists Macomber and Sylvan

Director Michael Keegan brings Totem Pole's opener some welcome comic relief in a new production of Michael Frayn's beloved farce

Iranian composer Vali's concerto for Persian ney and orchestra debuts on CD with two of his Persian folk song cycles. Soloists Khosrow Soltani and Janna Baty, with the Boston Modern Orchestra Project directed by Gil Rose, highlight the compositions.

Director Gary Smith puts Theatre of the Seventh Sister back on stage with a production of Sarah Ruhl's charming absurdist take on the Orpheus myth.

Director/choreographer Amy McCleary puts on a lavish production of one of the world's most popular musicals

Director Chad-Alan Carr and co-choreographer Bridgid Wills bring GCT a striking production of the ever-popular show

HAPPY DAYS, about to go into repertory with THE FULL MONTY, is a perfectly decent excuse to spend a day or an evening at Allenberry.

Director Stephen Hoke offers a production of Sorkin's 2012 revised version of the play that hits a number of high notes. And the audience can handle that truth

Gwyn Roberts and Richard Stone save their audience some reading time by letting them enjoy the musical versions of several literary classics.

She's a singer, a ballet dancer, and though only recently out of college she's been everything from a spirit in the Temple of Wisdom to a dame at sea. Jessica Humphrey talks about opera, CATS, and the current state of arts education.

The fourth annual auction and show grossed over $100,000 while entertaining the audience with local talents

The fourth concert of the 3013 Bach Festival presented the forerunners of J.S. Bach -- Praetorius, Lassus, Melchior Franck and Bach's own family.

Director Edward Fernandez and a well-trained cast of puppets and puppeteers bring the hit musical to hysterical life on the EPAC stage

If your taste runs to musical extravaganzas of giant proportions, nothing is bigger than Noah's Ark at Sight And Sound Theatre. It's wholesome, it's huge in all ways, and there's even an adorable dog.