I Know What I Like - 1939 - Broadway Articles Page 4

A handful of intrepid solo performers are presenting live, outdoor pop up performances of their acclaimed solo shows this Fall. These intimate storytelling events are presented using the LiveTours app and performed for an audience of 14 or less.

Amidst our recent heatwave, Dr. Heather Nathans, a theatre professor, practitioner, and writer raised by two historians, felt a particular physical connection to the stuffiness eighteenth century Bostonians would have undoubtedly experienced in theatres during the summer.

More than ever before, the past few months have made me realize how much work I have to do on my own as a white female, and specifically, a white female in theater, to combat the racial injustices that line our country's past and present.

Happy Gay Pride! BWW Reviewer Peter Nason chooses the 101 greatest LGBTQ songs and anthems from 1920-2020. See if your favorite songs or artists made the grade!

BWW Reviewer Peter Nason chooses the 101 greatest protest songs from 1939-2020. See if your favorite songs or artists made the list!

This Spotlight focuses on John Wuchte, a talented actor/director/writer/composer and amazing Tribal Acting theater creator, who I first met during last year's Hollywood Fringe Festival when I attended his masterful musical production Scarlett Fever which told the true story of the great search to find an actress to portray Scarlett O'Hara in Gone with the Wind in 1939. The production utilized John's unique style of performance, which he calls Tribal Acting; a combination of movement, gesture, song and dance, all accompanied by live percussion. And I was hooked!

BWW Reviewer Peter Nason chooses the 101 greatest scenes in cinema from 1901 to 2020. See if your favorite movie moments made the list!

BWW Reviewer Peter Nason chooses the 101 greatest Beatles songs, including some of the fab four's solo works. They're all here: 'Twist and Shout,' 'In My Life,' 'Helter Skelter,' 'Imagine,' 'Something,' 'Maybe I'm Amazed,' 'Let It Be.' See if your favorites made the grade!

BWW Reviewer Peter Nason chooses the best TV episodes from the 1950's to 2020; see if your favorites made the list!

BWW Reviewer Peter Nason chooses the greatest theatrical works (non-musical) from 1920-2020; see if your favorites made the list!

BWW Reviewer Peter Nason chooses the best film musicals since the sound era began; see if your favorites made the list!

The wait is over! Popejoy Hall announces the 2020-2021 season headlined by HAMILTON.

Visit our list of the best musicals & shows you can watch from home! We've got you covered with all the must-sees on streaming sites including Tony-award winners, favorite stars and top performances.

A riotous script and a veteran cast who know their way around comedy highlight a bravura production of 'The Man Who Came To Dinner,' Moss Hart and George S. Kaufman's classic 1939 play about a sidelined theater critic, forced to be wheelchair bound in a house in small town Ohio. Jim Beaver, Barry Pearl, and Kay Cole starr in this outrageously funny revival.

Ray of Light's (ROL's) production of The Rocky Horror Show filled me with hope for the youth of America. Lest that sound a bit strange, allow me to explain. Yes, ROL's a?oeRockya?? delivers in spades on the sexy entertainment value of this transgressive, go-for-broke show. But a?" it is also grounded in layers and layers of queer showbiz history even though it is presented by performers and designers who are way too young to have been around for the real thing. Taking the written-in-the-1970s-but-set-in-the-1950s show as its starting point, this production adds loopy gay cultural references from the 1930s right up to the present day - as if concocted by some crazed drag queen and thrown into a blender to see if it will explode. Surprisingly, it never does and it somehow all works.

On the eve of her death, Anne Boleyn reflects on the journey that led her to become a queen, a mother, and, eventually, a woman condemned. A fascinating look at one of history's most famous marriages. Part of the 2nd Stages Series.

If what you know about 'Cabaret' is informed by the classic 1972 movie which made Liza Minnelli a superstar, you owe yourself to see the Tony-winning musical stage version like the one at community-based Sherman Playhouse. Director Bradford Blake, inspired by London's Donmar Warehouse 1993 revival which made it to Studio54 in 1998, creates a solid, engaging production that is both faithful to the cautionary theme of the original Broadway production and authentic to the raw and seedy world of the decadent Kit Kat Klub, Berlin 1931.

Keeping us gasping is what Cabaret in all of its incarnations has always been about. Gasping at the opulence, gasping at the decadence, gasping at the heedlessness and the horror. It is intentionally strong stuff, and if it delivers, then it succeeds. And by that yardstick, this version, whatever it may or may not owe to its predecessors, is a smashing success.

To stage the beloved cultural icon that is THE WIZARD OF OZ offers any theatre company a herculean challenge: one which requires stretching the imagination to the limits to create a universe where reality is redefined and fantasy is fulfilled. In short, it demands stunning stagecraft and brilliant artistic vision. And it is just that kind of theatrical magic which Maine State Music Theatre's new production co- directed by Marc Robin and Curt Dale Clark boldly and beautifully realizes.

Jellicle cats, come one, come all! The long-awaited film adaptation of Andrew Lloyd-Webber's classic musical Cats is coming to movie theaters this December, and we can barely contain our excitement to see Grizabella, Rum Tug Tugger, Old Deuteronomy, and more come to the big screen. To get you all ready to see the Jellicle Ball on screen and celebrate International Cat Day, we've gathered all the info you need to know about the movie, from the casting to behind-the-scenes info. Check it all out!

The final three cast members for the Spring 2020 UK Tour of Helen Forrester's By The Waters Of Liverpool have been revealed.

All Berlin's iconic songs and a background you may not know.

The drama works because of the intriguing way the characters' ideas about how to act in response to Marian Anderson's two provocative exclusions (first from Nassau Inn and then from Constitution Hall) shift repeatedly in response to new information, so that consensus is almost impossible to achieve, at least until the play's very end. Anderson seeks progress through song, unimpeachable behavior and an avoidance of politics; Albert Einstein wants an end to both racism and antisemitism, and by the end is very worried about the Bomb; Mary Church Terrell embraces confrontation because all else seems to fail; and Abraham Flexner tries hard to protect the Institute as a means of keeping the Holocaust from consuming absolutely all Jews, even though he can save only a few.

Something old, something new…there's still plenty going on for fans of opera and classical vocal music in the Northeast now that summer is upon us. Here's a taste of what to look for.