Piedmont Opera Appoints Joseph Mechavich As General Director Ahead Of 50th Anniversary Season
by Chloe Rabinowitz - Jan 22, 2026
Piedmont Opera has appointed Joseph Mechavich as General Director, a move that aligns with the company's upcoming 50th anniversary. Mechavich's leadership is expected to enhance the opera's commitment to high-quality productions and community engagement.
Piedmont Opera Appoints Joseph Mechavich As New General Director
by A.A. Cristi - Jan 20, 2026
Piedmont Opera has named Joseph Mechavich as its new General Director as the company approaches its 50th anniversary. The conductor and artistic leader previously served as Interim Artistic Director, overseeing key productions and partnerships.
The Drama League Gala: Embrace the Directors
by James Blinken - Nov 17, 2023
The Drama League 2023 Gala titled “Embrace The Season” is an event amplifying the Broadway, off-Broadway, and off-off-Broadway shows gracing the stages in New York City each season.
Photos: On the Red Carpet for the Drama League's Embrace the Season Gala
by Genevieve Rafter Keddy - Nov 14, 2023
Just last night, the Drama League celebrated Embrace The Season: A Drama League Celebration, the venerated gala event amplifying the extraordinary productions gracing stages in New York City each season. BroadwayWorld was there for the special night and you can check out photos from the red carpet arrivals here.
Photo Flash: Glimmerglass Festival Opens with PORGY AND BESS
by Julie Musbach - Jul 8, 2017
The Glimmerglass Festival opened its 2017 season last night with The Gershwins' Porgy and Bess. Due to popular demand, The Glimmerglass Festival has added a performance to the Festival schedule on Tuesday, August 15, at 8 p.m. in the Alice Busch Opera Theater.
Photo Coverage: Signature Theatre Honors Cameron Mackintosh with Stephen Sondheim Award
by Walter McBride - Mar 21, 2017
Just last night, Virginia's Tony Award-winning Signature Theatre honored legendary Broadway producer Sir Cameron Mackintosh (The Phantom of the Opera, Cats, LES MISERABLES) with the company's eighth Stephen Sondheim Award.
Photo Coverage: On the Red Carpet for Signature Theatre's Sondheim Award Gala
by Walter McBride - Mar 21, 2017
Just last night, Virginia's Tony Award-winning Signature Theatre honored legendary Broadway producer Sir Cameron Mackintosh (The Phantom of the Opera, Cats, LES MISERABLES) with the company's eighth Stephen Sondheim Award. The award, established in 2009, is given to an individual for his or her career contributions to interpreting, supporting, and collaborating on Stephen Sondheim's music works.
BWW Interviews: Kinglsey Leggs of SISTER ACT - Art with Intention
by Carla Maria Verdino-Süllwold - Jun 24, 2015
'If you build it they will come. If you want diversity in the theatre, you have to build that diversity from the ground up. You can't just expect it to happen.' Actor Kingsley Leggs is speaking with quiet intensity about his passion for theatre, music, and dance and his belief that theatre must not only please, but also educate and empower its audiences. These are beliefs he has honed in a long career which has taken him from his native St. Louis to Broadway, regional theatre, and television. As he recounts his story, he is taking a break on what he calls 'a three show day' at Maine State Music Theatre, where he is in the last week of performances of The Full Monty and set to open June 25th in Sister Act. He has just finished the morning rehearsal and will soon head over to the theatre for a matinee and evening show. For all the obvious demands of this schedule, he appears relaxed and animated. He tells the story of how he came to be in Brunswick this summer:
BWW Reviews: PORGY AND BESS Enthralls at the Palace
by Roy Berko - Feb 6, 2014
It might surprise many to find that the original 1935 Broadway production of 'Porgy and Bess' ran only 124 performances. The reasons were many including the all Black cast, some of the overtones of the script were perceived by some to be 'too Negro,' the opera format was considered 'not Broadway,' while some railed that it 'had racial overtones.' Other suppositions were that the heavy dependence of a strong story line was not a familiar format during the era of escapist comedies, follies and vaudeville. Not to be overlooked was the fact that the production lasted four hours, with two intermissions.
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