Are You There? 1913 - Articles Page 7

At first it was unconscious, then by design: the 34th season of the Bridgehampton Chamber Music Festival, Long Island's longest-running classical music festival, has something of a water theme.

To celebrate the 100th Anniversary of New York State signing of woman's suffrage into law, three years before the US passed the 19th Amendment, Hangar Theatre, Kitchen Theatre Company, Civic Ensemble and Cherry Arts are collaborating on a two-night theater event: Four Plays - 100 Years. Performances will be at Kitchen Theatre Company on Tuesday and Wednesday, May 16 and 17 at 7:30pm.

Nearly a hundred years after Aline Barnsdall first envisioned an artist colony on Olive Hill in the middle of Hollywood, the public will have a rare opportunity to experience her dream come to life. Beginning May 6th, Hollyhock House, in partnership with Circle X Theatre Co. and J.U.S.T. Toys Productions, presents the Maria Irene Fornes play FEFU AND HER FRIENDS staged as an immersive theatrical event inside Hollyhock House. It is a first for this historical beauty and an exciting project that unites the past and present in more ways than one.

Co-directed with precision by Christina A. Coakley and Susan Marie Rhea, Keegan's PARADE keeps the staging simple and imaginative, cutting away clutter and using only the barest of props and scenic elements to help the story unfold. No one who has seen previous Keegan musicals, such as HAIR, CABARET, or AMERICAN IDIOT could be surprised by the quality of this rendering of PARADE; I fully expect this production to be recognized multiple times when the next round of Helen Hayes Awards comes around.

Though all of Harvey Granat's midday events are illuminating and entertaining, his most recent SONGS AND STORIES on March 16 at 92Y could've easily continued at least another half hour buoyed by audience enthusiasm. The event's special guests, author/producer/journalist Will Friedwald (who has his own 92Y series), and President of Jimmy Van Heusen's catalog, his great nephew, Brook Babcock, were both knowledgeable, engaging raconteurs. It was also a great pleasure to watch the two men join infectiously enjoying the afternoon.

Old School Square is presenting 13 outstanding shows and concerts in April. Tickets for all of them are available for online purchase now at www.OldSchoolSquare.org.

New York Theatre Ballet (NYTB) returns to New York Live Arts with its new Uptown/Downtown/Dance series from March 1-4, 2017 at 7:30pm with an additional 2pm matinee on Saturday.

Two classic Puccini operas and a hidden opera gem make up Welsh National Opera's Love's Poisoned Chalice season, taking audiences on a journey of love, passion, heartbreak and tragedy through some of opera's greatest tear jerking music.

New York Theatre Ballet (NYTB) returns to New York Live Arts with its new Uptown/Downtown/Dance series from March 1-4, 2017 at 7:30pm with an additional 2pm matinee on Saturday.

New York Theatre Ballet (NYTB) returns to New York Live Arts with its new Uptown/Downtown/Dance series from March 1-4, 2017 at 7:30pm with an additional 2pm matinee on Saturday. This year's program features a revival of Nijinsky's L'Apres-Midi d'un Faune staged by the 98-year-old Ann Hutchinson Guest, a new and as-of-yet untitled pas de trois by Pam Tanowitz, Frederick Ashton's La Chatte métamorphoses en femme, and Antonia Franceschi's She Holds Out Her Hand which premiered at Danspace in Fall 2016. All pieces will be performed to live music. A post-show celebration with wine, hors d'oeuvres, and music will be held after the opening night performance for which tickets are $75. Tickets for the performances are $30 ($15 for Students & Seniors) and can be purchased at http://newyorklivearts.org/event/spring-concerts/.

The Dallas Opera is proud to announce its ambitious 2017-2018 Season, "Motives Unmasked!" consisting of five entertaining and varied mainstage productions, including a dazzling U.S. premiere and a new Dallas Opera production of a very early opera by Viennese wunderkind Erich Wolfgang Korngold.

The brilliant theatricality of Kneehigh, the innovative United Kingdom-based theater company, will be on display at the Wallis Annenberg Center for the Performing Arts once again when 946: The Amazing Story of Adolphus Tips has its Los Angeles premiere.  Based on the beloved book by War Horse author Michael Morpurgo, 946 explores everything we thought we knew about the D-Day landings in this tender musical tale of love and war. Adapted by Morpurgo and Emma Rice, who also directs, 946 is a Kneehigh production presented in association with Birmingham Repertory and Berkeley Repertory Theatres. Performances begin February 9 with the opening on February 10.

The Chamber Music Society of Detroit will feature the Pacifica Quartet and pianist Christopher O'Riley, artists known for their exuberant performance style and bold, wide-ranging repertoire, in three concerts in different combinations over a single weekend. 

TITANIC should not be missed but must close January 29, 2017.

The Museum of Modern Art delivers a stunning one-artist showcase, and puts forward powerful evidence of Francis Picabia's sly, sensitive genius.

The Chamber Music Society of Detroit will feature the Pacifica Quartet and pianist Christopher O'Riley, artists known for their exuberant performance style and bold, wide-ranging repertoire, in three concerts in different combinations over a single weekend. 

Berkeley Rep today announced the American premiere of 946: The Amazing Story of Adolphus Tips adapted by Michael Morpurgo (War Horse) and Emma Rice, with Rice also directing.

Berkeley Rep today announced the American premiere of 946: The Amazing Story of Adolphus Tips adapted by Michael Morpurgo (War Horse) and Emma Rice, with Rice also directing.

The business side of Mad Cow Theater may be going through a rough patch, but you'd never know it by their recent production of Pygmalion, the beloved tale by George Bernard Shaw. On the Sunday afternoon that I attended the show, the theater was almost full and both the actors and the audience seemed to be having a lovely time (and rightly so as the show was fabulous!).

As challenging a work of theatrical artistry that you could possibly conceive of, Parade affords BUMT students a sublime opportunity in pursuit of excellence in a production that vociferously demands to be seen and experienced. It is one of the year's best musicals in a Nashville theatrical season that has boasted one after another significant stage triumphs, with two leading performances that are stunning in their complexity and passionate delivery.

Under normal circumstances, it wouldn't be a bad problem to have. During rehearsals for the Douglas Anderson School of the Arts' production of the Jason Robert Brown and Alfred Uhry musical PARADE, director and Theatre Department Co-Chair David Loudermilk realized his student cast would need some hard lessons on embodying the intense negative feelings of prejudice. 'I think it's an interesting balance,' Loudermilk comments. 'With this generation being so open and accepting and understanding of things - especially here at DA - it's hard for the kids to go to the 'other side' of it. They're struggling with getting angry. They just don't know how.'

Berkeley Rep today announced the American premiere of 946: The Amazing Story of Adolphus Tips adapted by Michael Morpurgo (War Horse) and Emma Rice, with Rice also directing.

Old School Square, in partnership with the Delray Beach Downtown Development Authority (DDA), will presentCarols by Candlelight, a new, outdoor concert experience that will become a Delray Beach holiday tradition, supporting local children's programs. 

It is quite remarkable when contemporary theatre-makers succeed in taking on a classic work and reinventing it so that it resonates within the context of our particular space and time. DANGLED is theatrical savant Louis Viljoen's adaptation of Nikolai Gogol's 1835 short story, 'Diary of a Madman', written as a performance piece for Rob van Vuuren. The result? Genius in action.

When Sergei Rachmaninoff composed his Rhapsody on a Theme of Paganini, a set of 24 variations for solo piano and orchestra, the Russian composer knew the 18th variation would be a big hit.