Transport Group's revival of its acclaimed 2011 production of The Patsy, written by Barry Conners, performed by David Greenspan, and directed by Jack Cummings III, officially opened on Sunday, April 10 at 3pm.
The York Theatre Company in association with Documentary Arts, presents the world premiere of the new musical Lonesome Blues, based on the true story of legendary bluesman Blind Lemon Jefferson, created by Alan Govenar (Texas in Paris) and Akin Babatundé (Blind Lemon Blues), directed by Katherine Owens (How Is It That We Live or Shakey Jake + Alice), performed by Akin Babatundé with David Weiss on guitar. Performances began June 12, 2018 for a three-week limited engagement through Sunday afternoon, July 1, 2018 at The York Theatre Company at Saint Peter's (entrance on East 54th Street, just east of Lexington Avenue).
The York Theatre Company, in association with Documentary Arts, presents the world premiere of the new musical Lonesome Blues, based on the true story of legendary bluesman Blind Lemon Jefferson, created by Alan Govenar (Texas in Paris) and Akin Babatunde (Blind Lemon Blues), directed by Katherine Owens (How Is It That We Live or Shakey Jake + Alice), and performed by Akin Babatunde with David Weiss on guitar.
Meet the cast and creative team of The York Theatre Company world premiere presentation of the new musical Lonesome Blues, based on the true story of legendary bluesman Blind Lemon Jefferson, created by Alan Govenar (Texas in Paris) and Akin Babatunde (Blind Lemon Blues), directed by Katherine Owens (How Is It That We Live or Shakey Jake + Alice), performed by Akin Babatunde with David Weiss on guitar. Performances begin Tuesday, June 12, 2018 for a three-week limited engagement through Sunday afternoon, July 1, 2018 at The York Theatre Company at Saint Peter's (entrance on East 54th Street, just east of Lexington Avenue). Opening Night is Tuesday, June 19, 2018 at 6:45 p.m.
Meet the cast and creative team of The York Theatre Company world premiere presentation of the new musical Lonesome Blues, based on the true story of legendary bluesman Blind Lemon Jefferson, created by Alan Govenar (Texas in Paris) and Akin Babatunde (Blind Lemon Blues), directed by Katherine Owens (How Is It That We Live or Shakey Jake + Alice), performed by Akin Babatunde with David Weiss on guitar. Performances begin Tuesday, June 12, 2018 for a three-week limited engagement through Sunday afternoon, July 1, 2018 at The York Theatre Company at Saint Peter's (entrance on East 54th Street, just east of Lexington Avenue). Opening Night is Tuesday, June 19, 2018 at 6:45 p.m.
We're taking you deep into the archives of BroadwayWorld photographer Walter McBride for exclusive flashbacks to Broadway past. Today, check out this shot of the late George Abbott pictured at 'Damn Yankees' opening Night at the Marriott Marquis in New York City on March 3, 1994.
With the history of ARIADNE AUF NAXOS as rich and complicated as the melodrama within itself, the reinvention presented by the Austin Opera this season is reminiscent of this Opera's rich history and beginnings. Premiering initially in 1912, Richard Strauss conceived a performance mixing the comedic style of Moliere' with the musically focused German-style melodrama opera. Appearing originally in two contrasting acts, the first begins as a play, and the second transitions into a full-fledged opera with comedic highlights. Historically, audiences were flustered in Munich and London by the contrasting art forms rolled into one Night of entertainment - specifically, opera aficionados were loathe to sit through an entire act of a performance, before hearing the opera they were expecting in act two. After a variety of attempts with different versions and audience locations, Strauss' Libretto partner Hofmannsthal proposed a new first act be written to provide context on marrying the dramatization of operatic performance style with less prestigious but entertaining commedia dell'arte. Thus the second version of ARIADNE AUF NAXOS was presented in 1916 in Berlin and despite unsuccessful returns of a few productions, this opera/commedia concoction went on to be performed all over European Opera houses until it's first presentation in the United States in 1925. This rich history and reworking lend well to the present production at The Long Center presented by Austin Opera.
The Museum of Modern Art delivers a stunning one-artist showcase, and puts forward powerful evidence of Francis Picabia's sly, sensitive genius.
