An update. Linda has already planned a return engagement at 54 Below for March 5-7. In fact, tickets are already on sale. So you don't have to rush to get tickets for December if you are willing to wait three months.
You would probably enjoy Jeremy more in a Cabaret setting. At least, a lot of people seem to think so, as he has a 13 show engagement at 54 Below scheduled for February and every show appears to be sold out. I think that you'd catch a lot more of his offhand wit and personality in a small venue.
I went to see Betsy Wolfe at 54 Below over a year ago now. I didn't know much about her singing; her classic blonde good looks were obvious. I like to compare the young actresses, f
Last year Linda, a self-proclaimed "singer" by profession, appeared three times at 54 Below for three shows each. All nine sold out at near top prices. There was quite a bit of interest here. Linda may not have the largest number of fans, but they are fiercely loyal. She is also backed by some very good musicians which partly explains the high ticket prices.
I just noticed that her one visit this year will be on the 3rd, 5th and 6th days of December. Apparently they thought n
Any art is a reflection of the society in which it was created, a reflection of both its flaws and strengths. To ask that revivals remain static flies in the face of what makes good art, because it’s mirroring back a time and place that is so far removed from current society that modern audiences can’t connect.
This is why God and the lawyers invented intellectual property rights. Since Congress redid the copyright law in 1978, with some exceptions a book or
I thought that this was a great idea the moment I heard that Michael J. Fox and Christopher Lloyd were going to be recast in their original roles. Oh, you say that I understood wrong. Lloyd looks spry at 81 and just married for the fifth time in 2016. Michael J. could get some humor out of his Parkinsons.
I thought that this was doomed from the first I heard of it because the success of the film and its extension into two sequels was dependent on the chemistry between the leading
joevitus said: "Agree Hammerstein is unappreciated. My comments should not be taken as dismissing his influence or his importance, just pointing out a weakness in his dramaturgical skill. No one's perfect. Hammerstein is the central figure in the development of American musical theater from a lighthearted diversioninto a serious art form. He wasa skillful lyricist and librettist, and his sentiments are--to me--still moving and inspiring. But he stumbled sometimes inhis his work.
I admit to being somewhat puzzled as to why the musical theater is held to such a high standard of compliance with the current social and cultural mores. Why not just look back at them to be reminded of from where we have come? A cynic might say that it is not necessary to look back. Just keep looking forward and we will eventually arrive back at the place from where we came.
No one urges others to stay away from the novels of Jane Austen because they depict the relationship
As I set forth, the Great Depression decimated Broadway financially, limiting the number of productions from 233 in 1929 to 98 in 1939. Many theaters were forced to slash prices to a range of 25 cents to a buck. And most of the shows were, as I noted, on the light side in both musical and drama. There had never been an opera staged on Broadway, none the less one with an all classically trained Africa American and I think that it is perfectly logical to presume that Gershwin did not expect a l
joevitus said: ""Money could not have been the motive."
What a weird assumption! The novel it is based on, Porgy, by DuBose Heywardwas a best-seller in the 1920's, and the play version of it, co-authored by Heyward and his wife Dorothy,had been one of the Theater Guild's biggest hits. I'm sure Gershwin was as interested in art as money, as was director Rouben Mamoulian, who directed both the dramatic and operetic version, but they clearly expected a p
I’m always amazed at the thought of George Gershwin and DuBose Heyward renting a theater in the middle of the Great Depression to stage a dark four hour opera with a cast of all classically trained African Americans. Money could not have been the motive.
Today in so many cases musicals are born of music groups or films already known to be of great popularity. Take no risks, produce nothing of greatness.
Sunday evening I attended the Marin Mazzie Sunflower Power Hour at 54 Below. This was a benefit hosted by husband Jason Danieley fro the Cancer Support Community. I had a perfectly legit reason for being there -- my sweet sister and only sibling had died from ovarian cancer thirty years ago at the age of 41, leaving behind a twelve year old, an eight year old and a husband. But I confess that I also liked the prospect of meeting some Broadway royalty, on even terms.
Hello, Dolly and Music Man are not shows of the same genre and should not be compared head-on. Hello, Dolly is a farce. "A light dramatic composition marked by broadly satirical comedy and improbable plot."
Music Man is a romantic comedy. You're supposed to care about the characters. Music Man induces tears in some people (like me) at the climax. No tears from Dolly except maybe of laughter.
Leonard Bernstein took the score of West Side Story and converted it to a twenty-three minute instrumental piece which he called "Symphonic Dances from West Side Story." The pieces that were loud and chaotic in the musical, like "Rumble" and "Cool," are loud and chaotic in the "Dances," but you could edit these out.
Thanks. In the days when I was following Kelli around nearly everywhere, about a month a so after her huge Carnegie Hall concert which involved her whole family and at which Kristin Chenoweth and the dying Barbara Cook appeared, I drove out to Staller to a concert. Quite different. Just Kelli, her piano player and an audience that seemed to be heavy on sedate older couples. But with that audience "They Won't Let You in the Opera" still brought down the house.