The Metropolitan Opera returned its vintage production of Bellini's I Puritani to the stage last night and the fast-rising Russian soprano Olga Peretyatko wowed the...
When you feel passionately about someone or something, it's only natural to feel that passion reignited by their presence. When I saw James Franco, I was reminded that, for being a celebrity, he is human.
To celebrate Disney's fun female characters, Canadian animation student Miranda (aka @snarkies) created a collaborative ode to them, inviting nearly 100 artist friends on Twitter and Tumblr to choose one of their favorite ladies and illustrate her.
I've been rereading Huckleberry Finn since I discovered it as the sequel to Tom Sawyer back in junior high school, getting more out of it with each encounter. Hearing Hal Holbrook last Friday inspired me to share a few keepers.
Each moment bristles with energy that coils, uncoils, and recoils. The production's biggest achievement is its supercharged pitch. This pitch reflects Diana's changing moods. These moods include depression, a numb, medicated stability, and an exuberant mania.
Being a Colombian, I grew up hearing of Márquez's writing. To say Colombians consider him to be their greatest literary figure is not an understatement. But it wasn't until I read his work for myself, that I owned the religion of Señor Marquez, rather than just inheriting it.
Artists' statements are a gold mine for someone like me who loves to make fun of the art world.
Having seen it again, I can report that it's every bit as lively, as thoroughly hilarious and as consistently heart-tugging here as it was there, if not that much better for the cast members having enriched their performances while working at them longer.
Both Tasting Menu and Chef succeed in navigating between personal vision and audience expectation, as the characters create dishes that reflect their own juicy emotions.
I recently spoke to Mark Innerst to ask him a few choice questions about his work and his background.
Two recent Bay Area productions included characters whose lives were haunted by the suicide of their son. The ghost of one son appears onstage; the other is never seen.
An evening of Kaufman and Hart was the brightest the Broadway theater had to offer and their impact has been felt ever since -- in television, the movies and on stage. But based on the reviews, James Lapine's adaptation of Act One is in the best Moss Hart tradition.
As spring again sputters into being and we witness another revolution of the life/death/life cycle, a recently installed artwork in the Minneapolis Sculpture Garden stands as a marker of this type of transition.