The scathingly funny actress brings her latest cabaret act to Joe's Pub in Hebe For The Holiday. Hanukkah came early this year, but her stand-up, which relies on dark, child-hating humor, hits in time to end the year with a zetz.
Wotcha! Gotcha!, a very British style of pantomime (or panto), is all set to delight and entertain audiences at the Burgdorff Center for the Performing Arts in Maplewood, N.J., this week. I had the opportunity to chat with producer/writer Gareth Jones.
"Christmas is weird. What other time of year do you sit around a dead tree and eat candy out of your socks?" This got me thinking about how bizarre many hallowed Christmas traditions are, perhaps none more so than The Nutcracker.
Familiar lines alone don't re-create the magical, morality-driven adventure that Charles Dickens published in 1843, and left to the ages. That narrative flickers between bright and bleak aspects of human experience, both personal and social.
The Actors' Gang has a treat for the season. Rather like A Midsummer Night's Dream -- this is its "Midwinter's Magical Festival." I saw The Queen Fami...
Five final shows to see before the holidays take over. They ranged from a marvelous breathing-to-life of a poem more than 200 years old, a so-so take on the Scottish play, a one-man homage to a master via August Wilson's biographical piece and two new works from talented writers.
Being born is one thing. Being born in NYC in 1923 is the best thing! That year has colored my entire life. To be a part of the Broadway scene in 1944 and to dance in the Shubert Theater and walk through stage door 6, nights and matinees. That was living!
Granted, in 1946 (the year this play premiered), a more straightforward approach may have been necessary, given this play broke a lot of ground in confronting the decay of societal values. But that ground feels like well-worn territory with this viewing.
Many Japanese Americans who've grown up since World War II -- myself included -- dreaded December 7 every year. As kids (and sometimes as adults) we've been taunted with hateful calls to "Go home, Jap!," "Go back where you cam from!" and the classic, "Remember Pearl Harbor!"
We see how an examination of the arts, and one artist in particular, has lessons for every kind of life. Stephen Sondheim, and other artists like him, do not merely entertain; they are teachers.
Two plays -- one I love, and one I've never liked -- are currently running in repertory on Broadway at the tiny jewel-box called the Cort Theatre.
Determined to be open to this new take on an old favorite -- after all, "the wool of the black sheep is just as warm" -- I hunkered down with a homemade habit (not kidding), a bottle of Grüner Veltliner and an unlimited texting plan to exchange notes with my family.
Not everyone seemed to share my excitement. At least not in a positive way. Twitter and Facebook seemed to explode with negative comments before the first commercial break.
To paraphrase Shakespeare: "The set's the thing." That sums up the Pearl Theatre's final production this season, And Away We Go, in which audiences are taken on a quick ride through the theatrical canon.
The current Broadway revival at the Cort Theater of Waiting For Godot is never less than riveting. That's thanks to the extraordinary chemistry between Ian McKellen as Estragon and Patrick Stewart as a determined, upbeat Vladimir/Didi.
When I moved to New York City in the late 80s to attend a musical theater school, I could never get over the fact that all across the city, magic was occurring in numerous Broadway theater houses each night.