One Wife or Another - 1933 - Broadway Articles Page 18

Terrific New Theatre opens Stephen Sondheim's Tony-winning musical about an unjustly exiled barber seeking vengeance in 19th-century London. The production marks the theater's 40th anniversary season.

Jones Hope Wooten's comedy follows four friends who reimagine a wedding venue as an events center, navigating life changes and hosting various celebrations at the Georgetown Palace Theatre.

Regional Theatre of the Palouse will present THE ADDAMS FAMILY in downtown Pullman, Washington, as part of its 20th Anniversary Season. The musical follows Wednesday Addams as she falls in love with an ordinary young man, leading to chaos when she invites him and his parents to dinner.

Shannon Nelson headlines a limited-run one-woman play written by Valerie Rachelle that blends comedy, tragedy, and politics while exploring the power of speaking truth.

Part Wuthering Heights, part God’s Own Country, this is a familiar tale viewed through an interesting lens. It doesn’t necessarily need to reinvent the wheel, but it does need to give us a reason to look at it differently.

The magic of the circus, with its daring acrobats who defy gravity and its abundance of incredible sights, has always made for a good story. Combine that with romance, a traveling troupe, and a score that captures the spirit of a bygone era, and you have Water for Elephants, the Broadway musical based on the bestselling novel by Sara Gruen. Featuring a book by Rick Elice and music and lyrics by PigPen Theatre Co., the production received seven Tony Award nominations and is now playing at Broadway Sacramento as part of its first national tour.

In contemporary American performance, one of the more celebrated creative pairings are theater artists and makers Taylor Mac and Matt Ray, who will launch ArtsEmerson’s 2026/27 season with “Taylor Mac and Matt Ray: Songs from Bark of Millions” – a reflection on queer lineage, community, and futures told through a collection of new music – presented in association with The Huntington, at the Emerson Paramount Center’s Robert J. Orchard Stage October 15–18.

What did our critic think of ARSENIC AND OLD LACE at Albuquerque Little Theatre?

Jonathan Rivera Morales' new play about two Puerto Rican brothers reunites actors Rick Gonzalez and Flaco Navaja for a staged reading at Barrio BX in the Bronx, marking the start of a community-based theatrical initiative.

Bianca Del Rio will bring her new stand-up comedy tour, It Gets Bitter, to Boston's Boch Center Shubert Theatre as part of a 2027 international run. Tickets are on sale now.

Composer Christopher Tyler Nickel releases a new album featuring his first Concerto for Cello performed by Swiss cellist Christoph Croisé, alongside pianist Oxana Shevchenko and the Vancouver Contemporary Orchestra.

BroadwayWorld was given an exclusive look at Pioneer Theatre Company’s new professional production of LITTLE SHOP OF HORRORS, including interviews with the stars and director/choreographer.

The San Francisco Symphony Youth Orchestra and Music Director Radu Paponiu will present a season of five concerts featuring works by composers including Michael Tilson Thomas, Beethoven, and Ravel.

The Franklin County Visitors Bureau offers discounted tickets for a guided bus tour exploring the life and inspiration of W.W. Denslow, the illustrator who helped create Oz.

San Francisco Opera will present a concert dedicated to Richard Strauss, conducted by Music Director Eun Sun Kim. The program includes the U.S. premiere of a new Der Rosenkavalier Suite, Till Eulenspiegel, and the Brentano Lieder featuring soprano Adela Zaharia.

San Diego Opera announced a new annual competition for emerging opera singers offering cash prizes and mainstage roles. Two winners will receive $5,000 and $3,000 respectively, plus opportunities to perform in future company seasons.

Waiting in the Wings explores the glamor and elegance of a lost era, life on the stage of 1920s music halls, the terror and loss and beauty of aging, and the incomparable treasures of female friendship. 

The Las Vegas Philharmonic will enter a new artistic chapter Oct. 17 when Music Director Rei Hotoda takes the podium for her inaugural classical performance with the orchestra in Rei Conducts Beethoven at Reynolds Hall inside The Smith Center.

The New York premiere of A Ghost in Your Ear, starring Owen Campbell and Lucas Iverson, is now playing Off-Broadway. Find out what critics are saying about the immersive horror experience.

East Lynne Theater Company will invite audiences to dress as aliens for a Halloween costume contest during performances of War of the Worlds: The Panic Broadcast in Cape May.

A London Made production of the off-Broadway farce DRACULA: A COMEDY OF TERRORS will open the Grand Theatre's 2026/27 season with a red carpet celebration on the Spriet Stage.

It was an unusual night for San Diego and its symphony orchestra. The heavy rains of hurricane Rachel were headed our way, and rather than the usual short concert opener, Music Director and Conductor Rafael Payare jumped right into the compelling urgency of Aram Khachaturian’s violin concerto. It seemed appropriate, though a coincidence. Concert programs are scheduled long before the daily weather report. Khachaturian’s Violin Concerto Khachaturian was born in Armenia but spent most of his life in Russia, and I’ve tended to associate him with Prokofiev, Shostakovich and other Russians who became popular in American concert halls in the mid-20th century. Since I hadn’t heard the concerto in years, I listened to James Ehnes’s version of it the day before the concert, and Russian still seemed the right take. The composer worked with the legendary Russian violinist David Oistrakh to create a challenge for soloists. Armenian violinist Sergey Khachatryan passed the test. It was an exciting performance that changed my view of the work. His fiery opening had horse hairs flying off his bow before he got through the first four bars, and a crying vibrato in the concerto’s exotic softer moments clinched it. Armenia was more of an influence than Russia. Khachatryan’s approach made other interpretations seem almost polite. Payare and his musicians were all in with the violinist on ferocity. Following his lead, as percussion hammered rhythms the brass section blazed forcefully and clear in the hall’s fine acoustics. The pause was longer than usual following the first movement as the conductor applied a handkerchief to his heated brow while composing himself for the sensuous warmth of the second movement’s opening. Strings provided the Andante's rich warmth, and woodwinds a lighter contrast. Principal Clarinet Sheryl Rank’s gentle decoration and mirroring of the soloist’s mainline were especially appealing in calmer moments. The finale turns to lighthearted joy with a spritely waltzing theme in a major key. The lyrical second theme of the first movement returns briefly before brass and percussion voice a triumphantly optimistic conclusion; the sun was out after the storm. San Diego Symphony often has its musicians make the usual brief pre-concert announcements about cell phones, fire exits, and so on. Tuba Principal Aaron Mccalla’s had the mic on this evening, and after comparing the opening concerto to a hurricane, he observed that the ocean waves Rachel caused were like the waves of sound in Bruckner’s symphony. Bruckner’s Ninth Other great symphonists bring crescendos to well-defined climaxes. Bruckner constantly climbs toward what feels like a peak or just short of it, only to fall back into a trough of quieter, more thoughtful sounds. He does it over and over again in a wave pattern, as though searching for something he can’t quite find. Until a few years ago, I found that strange, and was unsure of how he meant listeners to feel. But I now believe it represents his religious fervor, and indeed, he dedicated his ninth 'to the beloved God' and sought musical perfection. Constant revision of prior works is a related characteristic. He’d been working on the ninth for nine years when he died, having completed three movements and sketched a fourth. Because of poor health, he was convinced the ninth would be his last symphony. It was, and he did not complete it partly because he was also revising his first, second, third, and eighth symphonies. No wonder conductors sometimes have trouble deciding which versions to use. Well-meaning followers have made it even more difficult by revising the composer’s orchestrations. The main options for the ninth are one of the completed three movement scores or one of many with a fourth movement based on the composer’s detailed sketch. There’s no doubt he wanted a fourth, but most conductors opt for three, as did Payare. He led the frequently performed Orel version of Bruckner’s last score as edited in 2000 by musicologist Benjamin-Gunnar Cohrs. Are the revisions done? I doubt it. An AI generated fourth movement is probably in the works. Bruckner makes even greater demands on the brass section than Khachaturian, and his unfinished ninth, nearly an hour long, calls for eight horns and a tuba in addition to the usual trumpets and trombones. Payare showed no mercy. An ex-horn player, he clearly glories in the way his brass section fills the hall. Demanding its best, and loudest, he rises en pointe and thrusts his arms toward heaven, the musical goal for both him and the devoutly religious Anton Bruckner. The first movement is labelled “Solemn, Mysterious.” It’s the lengthiest, with long sections of soft contemplation in the strings and woodwinds repeatedly interrupted by sudden drum rolls and brass calls. Swelling strings have a beautiful second theme which reappears briefly in the final movement. Payare brought the movement to an end with loud and commanding brass. The second and shortest movement is a scherzo. It begins with delicate pizzicato strings soon dismissed when the full orchestra unexpectedly interjects by pounding on a single note before the brass again takes command. The delicate-brutal pattern is repeated until the brass section finally says with determination, “enough of that” to end the movement. The third movement is marked “slow and solemn,” but again the brass section has its say, and here, as throughout the performance, Bruckner’s many abrupt and sudden transitions from fortissimo to pianissimo and back were smooth and effective. The symphony’s peak is reached with trumpet calls, clearly written in praise of God and thrilling under Payare’s baton. The movement ends with what seems Bruckner’s quiet acceptance of impending death. I understand why most conductors choose to leave it there, but Bruckner kept working on a final movement after completing the third and left extensive notes. I doubt we've seen the last attempt to complete his vision. If there is a heaven, he's already done that himself and revised it several times.

Peter Shaffer’s Amadeus explores the rivalry between Mozart and Salieri in City Theatre Austin's production. Directed by Bridget Farias Gates, the show features beautiful period costumes, creative ensemble movement, and strong supporting performances in this classic story of genius and jealousy.

The Museum of Anthropology at UBC will present the Canadian premiere of Ayana V. Jackson's afrofuturist exhibition from November 19, 2026 through March 29, 2027, reimagining the Atlantic Ocean as a realm of survival and possibility.

The Grammy-winning rock band stages a week-long exhibition at Beyond The Streets in Los Angeles featuring rare artifacts, immersive installations, and exclusive merchandise tied to the seminal 2001 album.