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Revenge With Music - 1934 - Broadway

Based on the novel The Three Cornered Hat (El Sombrero de Tres Picos) by Pedro de Alarcon

Schedule

New Amsterdam Theatre (Broadway)

(New York, NY)
214 West 42nd St.
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by Caryn Robbins - Jan 31, 2017
Today, talented actress Gerianne Perez speaks to BWW about making her Broadway debut , and shares her hope that IN TRANSIT will help people feel a little less alone in their journeys from point A to point B!
by BWW News Desk - Jan 29, 2015
54 Below, Broadway's Supper Club, presents 'An Evening with Gerianne Perez' tonight, January 29th at 11:30pm.
by Tyler Peterson - Jan 26, 2015
Coming up this week, 54 BELOW, Broadway's Supper Club, presents some of the brightest stars from Broadway, cabaret, jazz and beyond. To purchase tickets or for more information, visit www.54Below.com or call (646) 476-3551.
by Tyler Peterson - Jan 23, 2015
Craving a show after the show? 54 BELOW, Broadway's Supper Club, is expanding its popular late-night series with fresh faces and hot new performances to keep the party buzzing into the wee hours. To purchase tickets or for more information, visit www.54Below.com or call (646) 476-3551. 54 BELOW welcomes you to loosen your tie and embrace the night at its upcoming events:
by BWW News Desk - Jan 21, 2015
54 Below, Broadway's Supper Club, presents 'An Evening with Gerianne Perez' on January 29th at 11:30pm.
by - Aug 26, 2009
Today's Broadway Blogs on BroadwayWorld.com from Wednesday, August 26, 2009.
by Kristin Salaky - Aug 26, 2009
I think it's important to report right from the outset that several times during The Public's outdoor production of Euripides' ancient Greek drama, The Bacchae, I looked down to discover that I was involuntarily tapping my toes to Philip Glass' new score. It's not that the master minimalist had peppered the centuries-old text with a collection of Jerry Hermanish showtunes, but that the tandem work of Glass' scoring for synth, brass and percussion and Nicholas Rudall's brisk, modern-sounding translation produced an irresistible give-and-take between speech and tone. No mere incidentals, Glass' airy, elongated pitches, frequently lush and at times strikingly accented, carry equal weight as the spoken words; echoing, answering back, subtextualizing and, most importantly, pushing the production toward its inevitable climax. If the composer's contribution is the 90-minute evening's most memorable, that's not to discredit the rest of director JoAnne Akalaitis' always interesting (if sometimes lacking for passion) production.