Back on April 1, when he posted his third compilation of delayed cabaret reviews from shows staged during the winter, BroadwayWorld.com's lead New York cabaret reviewer promised Number 4 would come with arrival of summer. Okay, so he missed his self-imposed deadline by a couple of weeks. but here's yet another catch-up column with critiques of a half dozen spring shows performed by Bryan Batt, Dawn Derow, Lynly Forrest, Dennis McNeil, Anastasia Barzee, and Nina Hennessey.
A new CD, The Hours Begin to Sing, with songs by American composers performed by soprano Lisa Delan, has just been released on the PentaTone Classics label (PTC 5186 459).
Russia's profound and far-reaching impact on 20th-century culture will be explored at the 2013 annual Bard SummerScape festival, which once again offers an extraordinary summer of music, opera, theater, dance, film, and cabaret, keyed to the theme of the 24th annual Bard Music Festival, Stravinsky and His World. Presented in the striking Richard B. Fisher Center for the Performing Arts and other venues on Bard College's bucolic Hudson River campus, the seven-week festival opens on July 6 with the first of two performances of A Rite (2013) by the Bill T. Jones/Arnie Zane Dance Company and SITI Company, and closes on August 18 with a party in Bard's beloved Spiegeltent, which returns for the full seven weeks. Complementing the Bard Music Festival's exploration of “Stravinsky and His World,” some of the great Russian-born composer's most captivating compatriots provide key SummerScape highlights. These include the first fully-staged American production of Sergey Taneyev's opera Oresteia; the world premiere of an original stage adaptation of Mikhail Bulgakov's seminal novel The Master and Margarita; and a film festival titled “Between Traditions: Stravinsky's Legacy and Russian Emigré Cinema.” Together, SummerScape's offerings will continue Bard's yearlong tenth-anniversary celebrations for the Frank Gehry-designed Fisher Center, which commence with a month of special performances in April.
Apparently, it is Elvis Week in Nashville (at least according to the fine folks at Loveless Cafe), so before we head out to the theater for a full weekend of show openings and the like, a trip to West Nashville for a slice of the Loveless' Elvis pie is in order (for the uninitiated, that's peanut butter, banana, bacon and homemade whipped cream-the four basic food groups, according to The King.), so before we slip into a diabetic coma, here's installment #7 of Music City Confidential, all the news that's fit to print from onstage, offstage, backstage and beyond…
Orson Welles was very much the leader of the Mercury Theatre Company, despite his relative youth. He became, in fact, a Broadway legend...
The opposites attracting plot is probably as old as romantic comedy itself, but even if Rooms: a rock romance follows familiar paths, the Paul Scott Goodman (book/music/lyrics) and Miriam Gordon (book) two-person musical is such a buoyant, funny and upbeat affair that the clichés of the story are conquered by the cleverness and exuberance with which the story is told. Under Scott Schwartz's swift and breezy direction, the 90-minute one-act scoots the audience along on an immensely enjoyable ride.
The Metropolitan Room, deemed the best cabaret room in New York by New York Magazine, has announced its upcoming November calendar.
An original cast member off and on B'way and in London, Ann rejoined the show for its final months.
Today's Broadway Blogs on BroadwayWorld.com from Tuesday, March 17, 2009.
Today's Broadway Blogs on BroadwayWorld.com from Sunday, March 1, 2009.
We spoke to your favorites to find out what they thought was the most romantic Broadway love song.
Videos
