Can-Can - 1978 - New York Articles Page 4

BalletMet’s The Nutcracker will return to the historic Ohio Theatre from Dec. 11 to 28. The production will have 22 performances, including two My First Nutcracker iterations, and feature more than 180 Academy students and trainees.

Victoria Wood’s long-standing friendships, love of the Lake District and close connection to The Old Laundry Theatre in Bowness-on-Windermere comes full circle, as the intimate theatre is to be renamed THE VICTORIA WOOD THEATRE.

David Gray, Orchestral Manoeuvres In The Dark (OMD), Pete Tong Ibiza Classics and Sophie Ellis-Bextor are the first artists announced for 2026's Hampton Court Palace Festival.

Kumu Kahua Theatre, in collaboration with Bamboo Ridge Press have announced the November prompt for their monthly play writing contest, Go Try PlayWrite. Learn more here!

The Cure is releasing a new concert film, featuring the complete live performance of Songs Of A Lost World and a special five-song set to celebrate 45 years of the Seventeen Seconds album. 

While different tryout theaters have different relationships to the development of new shows, it’s worth looking at both which commercial rental theaters and which non-profit theaters have had the most Best Musical Tony Award winners come from their stages.

Earlier this year, it was announced that the Library of Congress had acquired the Stephen Sondheim collection. The legendary composer and lyricist passed away in 2021 at the age of 91 after a long and extraordinary career. His collection at the Library of Congress is in the midst of being catalogued, and this piece shares several highlights from the boxes of Sondheim’s lyric drafts, music manuscripts, rewrite notes, brainstorm pages, song list outlines, and more.

See what the critics are saying about Ragdoll at Jermyn Street Theatre. Read the reviews for Ragdoll in BroadwayWorld's Review Roundup here and learn more about the production.

The concert, featuring vocalists Ms. Lisa Fisher and José James, will be led by Chris Walden as conductor of his Pacific Jazz Orchestra’s 17-piece big band.

All new photos have been released from Katherine Moar’s Ragdoll at Jermyn Street Theatre. Check out the photos here and learn more about the production!

Láhppon/Lost has an extremely physical narrative, an echo of the Kautokeino rebellion told through ballet. Learn more about this upcoming production and how to get tickets here!

History Theatre will present its Fall 2025 Raw Stages: New Works Festival from October 16–19, 2025, featuring six new staged readings, a salon conversation, and a festival celebration at its St. Paul home. Tickets are on sale now.

Costello came up with an intriguing mix of crowd favorites, snarling his way through his harder edged material like “The Beat,” “(I Don’t Want to Go to) Chelsea,” and “High Fidelity” and displaying his softer side with ballads like “Almost Blue” and “Poisoned Rose.”

Dance Umbrella - the contemporary dance festival - started in 1978 and continues its mission today. One can always expect the unexpected…however, Sunday Shorts - “a screening of short films that draw on global perspectives and have movement at their heart” was far from what I'd hoped it would be.

freeFall will continue their 25/26 season with Ira Levin's Deathtrap. Deathtrap provides twists and turns of devilish cleverness, and offers hilariously sudden shocks in such abundance that audiences will be spellbound until the very last moment.

As the fight for women to have equal rights and opportunities has evolved, so has the presence of plays telling these stories. When I wrote my book, Women Writing Musicals: The Legacy that the History Books Left Out, the first-ever book about female musical theatre writers, I researched many musicals that are in this genre as well.

New York Live Arts and Pick Up Performance Co. will present the world premiere of TIMES FOUR / David Gordon: 1975/2025, Wally Cardona and Molly Lieber’s reconceiving of Gordon and Valda Setterfield’s 1975 duet.

The benefit of a stage production means it will always be malleable to change, always willing to look at how a story written in the past can still be relevant in the present, and remain timeless for the future. What follows in this new production of The Wiz is a recontextualization of our favorite characters. While the structure of the story is faithful to the Baum novel and MGM film, it comes with small, but noticeable details that reframe this familiar story not just as a fantastical quest, but as a bildungsroman and revenge tale at the same time.

Grease at the Suncoast Broadway Dinner Theatre brought a new and exciting twist to the beloved show, spearheaded by a strong cast and immersive environment.

FreeFall will continue its  25/26 season with Ira Levin's Deathtrap. Learn more about Deathtrap and see how to purchase tickets to upcoming performances here!

Perhaps no one is more surprised Steve Hackett is doing a retrospective on THE LAMB 50 years after the fact than the guitarist himself. THE LAMB was ranked in the top ten of Rolling Stone magazine’s top 50 progressive rock albums of all time. The BBC called it a “conceptual masterpiece.” Hackett has another word for it: an anomaly.

The Wiz premiered on Broadway 50 years ago, but you would never guess that the show is that old by watching the current production at the Springer Opera House. The energetic cast and wondrous visuals breathe fresh life into the play and make The Wiz compelling from start to finish.

Drag culture in La Cage aux Folles isn’t just the “bold face” of the gay community; it’s a celebration of visibility itself, a way of inviting even those on the periphery to understand more deeply what it means to live authentically, unbothered, and unashamed.

Deathtrap is definitely worth your time. Long hailed as Broadway’s longest-running comedy-thriller, Deathtrap masterfully blends sinister suspense with biting wit—truly “two-thirds a thriller and one-third a devilishly clever comedy” from Kansas City Actors Theatre+

If you come to opera via film musicals and, later, stage shows, Tosca is amongst the most accessible. The story of the lovers and the evil apparatchik is told at a furious pace, trauma after trauma piling up as the emotional heft becomes all but unbearable. There’s no standing about for twenty minutes while someone sings stage left, no mythical dwarves hiding gold, no magical toymaker. Nor, as early critics were quick to point out, is there a whole lot of poetry either in Luigi Illica and Giuseppe Giacosa adaptation of Victorien Sardou’s sensational play. However, there are compensations…