The complete cast is set for ROCK OF AGES Hollywood, which will open this fall at a specially built performance venue and nightlife destination on Hollywood Boulevard named after the venue at the center of the show, The Bourbon Room.
Deciding where to go for college or university is nothing short of daunting. To help out, we're rounding up some of the top theatre schools to give students some stats to consider when getting ready to apply or even transfer.
Chicago the Musical will paint the town February 18-23, 2020. Anchorage Concert Association presents the smash hit as part of its 2019/2020 season lineup, which also includes Disney's The Little Mermaid, Wild Kratts Live!, and The Piano Guys.
Artistic Director Robert Battle has announced exciting highlights to Alvin Ailey American Dance Theater's Lincoln Center season at the David H. Koch Theater June 12 – 16. In addition to a world premiere by Darrell Grand Moultrie and recent premieres by some of today's most revered choreographers across three distinct programs – Bold Visions, Trailblazers, and Timeless Ailey – the engagement includes The Ailey Spirit Gala benefit celebrating the 50th Anniversary of The Ailey School; An Evening Honoring Carmen de Lavallade; and a series of special activities for people of all ages and backgrounds. The engagement also marks the debut of five new Company dancers.
New York City Ballet opened its spring season with a week of 21st-century ballets-no Balanchine, or Robbins, just anything that was created after 2000. Some prove eminently worthwhile and destined to remain in the company's repertoire for a long time; others, I'm not quite sure.
There is nothing negative I could possibly say about the performance I witnessed on April 4, 2019 at the Dorothy Chandler Pavilion. Such artistry is almost hard to describe. This company has an amazing history and is superb in both their interpretation and their amazing technique. Their 60-year history of excellence is a gift to our lives that must always Be. What more could you want? Extreme gratitude given to Glorya Kaufman, and Glorya Kaufman Presents Dance at the Music Center. Ms. Kaufman is an Angel for the Arts in Los Angeles; especially for Dance. Supple strength that fluidly morphs until it hits a line that is as outstretched and aesthetically perfect as could be, and those are the visual pictures they create with their bodies. It is a way of moving that combines all the elements of different opposites that we feel, react to and dream of, painting a visual picture, conveying expressive perceptions.
Dear Readers, in my capacity as a reviewer and as a musical theater geek at large, I've been privileged to witness more than a few out of town tryouts, those plucky wanna-be Broadway shows taking a shot in another city. Both here at home and abroad, I occasionally get a glimpse at greatness in the making, and yes, some at the 5th Avenue Theatre. I remember marveling at the glory of 'Memphis' and not being able to contain my enthusiasm or stay in my seat during the curtain call of 'Hairspray'. But not all are winners. (I'm looking at you, 'Princesses'.) So, each and every time the 5th Avenue announces their next great new musical, I'm a little trepidatious even when the show is from two of my favorite composers, Lynn Ahrens and Stephen Flaherty, not to mention directed and choregraphed by the indomitable Susan Stroman. So along came 'Little Dancer' which many whom I mentioned it to thought was an Elton John jukebox musical. (Wrong lyric, guys. That's 'Tiny Dancer'.) Then the show was changed to 'Marie', possibly owing to such confusion and finally to 'Marie, Dancing Still'. But whether they want to call it 'Little Dancer', or 'Marie, Dancing Still' or 'How Degas Got His Groove Back', what they have is a bona fide, must see, must cry throughout, accept no substitutes, hit in the making and a definite addition to my list of shows I was honored to catch early on.
Sometimes ballet can be tricky. It's an art form that, when misunderstood, can come off as stuffy and out-of-date. Neither of those labels are an accurate description of the program New York City Ballet is showcasing at the Kennedy Center. With a skillful blend of contemporary and classic techniques, there's something for everyone in this thrilling presentation.
The new artistic director and co-director of the New York City Ballet looked a little nervous Tuesday as they awkwardly welcomed the Kennedy Center audience to their annual week-long residency.
Peck and Louise Pitre play Marie - young and adult, respectively. We sat down with Pitre to talk about creating the role of Adult Marie in the 5th Avenue Theatre production during early previews.
It's become second-nature for many in the dance world to refer to Jerome Robbins as a second rate choreographer these days. Or should I say even 40 years ago?
The NYCB's five-part 'Classic NYCB' program, performed this past Wednesday, February 6th at Lincoln Center, featured a broad choreographic landscape. Through the work of four choreographers and spanning four decades, the evening featured not only the 'Classic NYCB,' as promised by the program title, but also a rare brand of 'Iconoclastic NYCB.' While some audiences might be nostalgic for the glory of 50's Balanchine, this evening proved that perhaps the best is yet to come and that even Balanchine did not shy away from experimentation as he reached towards artistic relevancy.
About ten minutes into the Alvin Ailey American Dance Theater's (AAADT) performance on Tuesday evening at the Kennedy Center I put away my notebook on which I jot down my ideas for reviews. There are only so many times that you can write variations of 'wow, that was incredible' before the phrase becomes redundant. As the Ailey dancers do on every visit to the Center, they delivered an enrapturing evening of dance with new creations and classic items from their repertoire. Yet again, this company proves why it is one of the leading dance companies worldwide.
Today's subject, Jonathan David Martin, came to Washington, DC after accepting a job as Associate Producer of Theater J, but he is currently living his theatre life back onstage in The Heiress at Arena Stage in the role of Morris Townsend This production, which marks his Arena Stage debut, begins performances on February 8th. It plays through March 10th in Arena's Fitchandler Stage space.
In the history of classical ballet, it's hard to find a pair more perfect than Balanchine and Tchaikovsky. Balanchine's choreographic style, defined by quirky syncopations and dramatic port de bras, punctuates the longing percussions of Tchaikovsky's scores. The exchange of movement and music is a call and response; a mutual muse that appears when beckoned. This is the best way to describe New York City Ballet's artistry on the evening of January 29, 2018. As the dancers took the stage for three Balanchine classics, you could feel both the tradition of precedent and excitement of modernity in the air.
There are just 13 chances left to see Alvin Ailey American Dance Theater's holiday engagement at New York City Center before the season finale on December 30 at 7:30pm. Highlights include tonight's new production of Robert Battle's Juba; continuation of Timeless Ailey, Three Visionaries, All Battle, and All New programs; a one-time-only Wednesday matinee performance on December 26; and a Special Season Finale featuring excerpts of this season's thrilling premieres, culminating with Alvin Ailey's timeless and inspiring masterpiece Revelations.
Cultural World Ambassadors, Alvin Ailey American Dance Theater, makes its return to the New York City Center for a milestone celebration of the company's Ailey Ascending 60th Anniversary. As part of their annual five-week holiday engagement, the company honors the artistry and legacy of Mr. Ailey through special performances featuring an exhilarating mix of new premieres, audience favorites, and rarely seen works by Alvin Ailey himself! This celebration coincides with the City Center's landmark 75th anniversary.
On Tuesday, December 4th, Alvin Ailey American Dance Theater continued its historic 60th Anniversary season with the world premiere of Ronald K. Brown's The Call, the renowned choreographer's seventh work for the Company which he describes as “a love letter to Ailey.” The New York Times says, “The Call… is something of a conversation between the choreographers, a beauty of a dance that ripples along while highlighting Ailey's formality, his ebullience and how he came to find his choreographic voice.” There are four more chances to see The Call this season: Dec. 8 mat, 9 eve, 20, and 29 mat.
Yes, in the world of Tom Stoppard, post-coital pillow talk can be a debate about human consciousness and whether or not altruism truly exists. After all, nobody said anything about THE HARD PROBLEM was going to be easy.
