Twelfth Night or What You Will - 1986 - Off-Broadway Articles Page 20

Ryan Phillippe sat down with Good Morning America to explain why he joined 9-1-1: Nashville and what fans can expect from his new role.

GMA's Pop News covers Eli Manning and Robin Roberts' new 'Panther Pat' documentary, 2027 Grammy predictions, and Zoo Atlanta's upcoming panda debut.

Michael Che discussed his new Netflix special, Shane Gillis' SNL monologue, and his friendship with Colin Jost during a TODAY appearance.

Cherry Lane Theatre extends its fall programming with SCHOOL PICTURES, a musical returning after a sold-out run at Playwrights Horizons, and TWO GIRLS, a two-hander examining sexuality and the body.

The Broadway-aimed original musical comedy Regency Girls has teamed up with And That's Showbiz to release the trailer for “We Got This: On the Road with Regency Girls,” a new behind-the-scenes series following the musical's journey to Broadway.

Between college applications, school deadlines, reporting on premieres, rehearsals and performances, and playing tennis, I’ve had to find ways to balance my responsibilities.

Michael R. Jackson’s wildly inventive and unique 2020 Pulitzer Prize-winning musical A Strange Loop now makes its Chicago premiere. A Strange Loop is a “big Black and queer-ass American Broadway show,” in the main character Usher’s words, about the lead trying to write a musical called A Strange Loop that accomplishes the same. Usher, so named for his gig as a Broadway usher at The Lion King, has taken the job in the hopes that someday he’ll make it big as a musical theater composer/lyricist. Thus, A Strange Loop is an original and episodic look at the creative process.

The National Theatre continue their commitment to new writing with a piece by Helen Edmundson. While this is wonderful in itself, this is not only a matter of having an original play on stage. Some Woman spotlights a category that’s often forgotten by the entertainment business, featuring a middle-aged woman as its protagonist. Anne-Marie Duff makes a splendid return to the National Theatre directed by Blanche McIntyre, portraying a woman who finds herself in a baffling position after a ten-year-old verbally abuses her on a train platform. The situation escalates, allowing Edmundson to weave a complex exploration of womanhood and misogyny in the 21st century.

The heir apparent to the Jerry Herman tribute show, Macon Prickett packs a punch and the house at 54 Below.

Director Rob Ashford and music supervisor Or Matias exclusively tell BroadwayWorld how they are keeping Duncan Sheik’s legacy alive in 'Memoirs of Amorous Gentlemen.'

If you want to bring a little Spanish warmth into your autumn, you could do much worse than head down to Sussex, where Glyndebourne's Autumn Season is now in full swing. In 1775, Beaumarchais created the character of Figaro in his play Le Barbier de Séville and over 250 years later, we are still reaping the rewards in Gioachino Rossini's operatic masterpiece, The Barber of Seville.

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.

What did our critic think of PAN AMERICAN SYMPHONY ORCHESTRA'S TODO TANGO at The Music Center At Strathmore?

Found within the heart of Massachusetts, you'll find Worcester, and in the small yet vibrant campus of Worcester State University, the campus' theater community serves as a dynamic hub for hands-on learning, creative output and artistic expression.

Mandy Gonzalez chats with Robert about her longtime friendship with Miranda, the inspiration behind this exciting new show, and the personal stories that make these songs so meaningful. They also look back at her incredible Broadway career, the artists who have inspired her, and the joy of connecting with audiences through music. Watch in this video!

The Broadway League Foundation has announced that Broadway Bridges is returning for another year with 19 shows participating in the 2026 fall semester. Learn more here!

Get ready for a night of wit, charm, and powerhouse vocals as the incomparable Ginger Minj makes her highly anticipated 54 Below debut on Tuesday November 10! The show shares its title with her upcoming album, THE BROAD'S WAY.

Tim Connell has a thing... a vibe... an aesthetic. And it's just what his fans and followers want when they go to one of his shows. His latest show has that thing.

Performances are officially underway at the Laura Pels Theatre for the New York premiere production of The Heart- a new musical with a book and additional lyrics by Kait Kerrigan, music and lyrics by Anne Eisendrath and Ian Eisendrath. What's it all about? Watch in this video as the cast unpacks their roles.

Houston audiences will soon have a chance to see Sara Gaston return to the stage in The Roommate, Jen Silverman’s two-person comedy coming to STAGES Houston October 23 through November 22.

I have been in college for a little over a month now, and it has been a big but welcomed change! I have loved meeting new people and having the opportunity to learn more in depth about things I’m interested in.

A high-energy family show for all the pirate-loving, riddle-solving kids out there

BroadwayWorld looks back on the 1981 Broadway musical 'Dreamgirls,' which ran for more than 1,500 performances, and what members of its cast are up to now.

Recently, we had the chance to chat with Lindsey Coulson about playing Eileen in Ilford Boy. We discussed the rehearsal process for a new piece of work, what it has been like returning to theatre after more recent performances for television and what she hopes audiences will take away from the play.