After being raised in the suburbs of Detroit and growing up on oldies but goodies, it made complete sense for the coolest manager in the world to ask me to go see Motown the Musical at the Pantages Theatre. If you haven't seen it yet, it's a must!
Nice Girl is set in suburban Boston in 1984, doesn't rise to the poetry of Williams, but it possesses a poignancy and moving tribute to working-class blues that's touching in its simplicity.
If you ask me, On The Town, which is currently slightly trailing both other contenders in my Tony polling, deserves the win. I, like most, was worried when the show was announced for that barn of a theater, but director John Rando proved the doubters wrong.
If I had to choose the one featured performer in a play or musical, on or off-Broadway, who I thought was giving the best performance this season, it would be Ruthie Ann Miles in Lincoln Center Theater's revival of The King and I.
An American in Paris is about many things: Paris after the war, the joy of new experiences, romance, love, dance and the relationship between three friends.
As I continue my series, Women In The Performing Arts, I am struck once again, with the impressive accomplishments of these dynamic female educators and the difference they are making in the lives of young artists.
I was in Philadelphia all day on Saturday. I went to Independence Hall and the Liberty Bell in the morning, the Italian Markets, Reading Terminal, the Barnes Foundation, and Chinatown in the afternoon, and saw The Lion King at the Academy of Music in the evening. It was, in short, an absolutely incredible day.
It's a warm spring evening in Central Park and a group of teens are gathered at the Alice in Wonderland statue, just up from the boating lake. For most of them, frolicking on the iconic statue is probably something they haven't done in a while. But today the teens don't hold back.
The Lower East Side has always been a playground for oddballs, creative types who diverge from Manhattan's mold. It's a quirky neighborhood filled with idiosyncrasies and secrets stuffed in blocks and buildings. These days, south of Union Square is trending, a wonderland of bars, movie houses, and restaurants that offer a refreshing contrast to Midtown.
Janet's tale, about a young married British couple in Northern England in 1961, is a strangely compelling look at the state of consumerism and love gone goofy. Equal parts social commentary and theater of the absurd, One Hand Clapping, at 59E59 Theaters, is a thoughtful and engaging dark comedy.
This week, in my series, Women in the Performing Arts, I am spotlighting University of Oklahoma faculty member Lyn Cramer, who generously and remarkably took time out from her wedding weekend in Taos to answer my questions.
I think that theater, with an eye to the development of new performative languages and adaptation to the times, will manage to redeem its role in upcoming years, a role that is as indispensable for every community as that of a hospital or school.
The opera's conductor laughed when I told him. "I recall teaching one of my protégés how to use a rotary phone; he kept looking for buttons to push." "Boy or girl?" I quipped.
As subscriber-based audiences get older, it is imperative that theatre makers consider Millennial sensibilities when creating their work and marketing it out. If theatre is the "social art form," then it must communicate in a language that is relevant to its audience.
Never in my lifetime have I heard of a science fiction theatre festival -- perhaps because they never existed until actor/writer David Dean Bottrell came up with the idea in 2013 after reading The Wife's Story, a dark and unusual short piece by the great Ursula LeGuin.
Widening a child's perspective on the world is part of healthy child-rearing and one way to do that is introducing music and performing arts, which is essential for development and stimulation.