I genuinely did not know what to expect going into The Explorers Club. What I saw was a madcap diversion -- a hilarious way to take your mind of your troubles (for a couple of hours at least). Do you really need anything more?
An all-male boarding school serves as the starting point for Tarell Alvin McCraney's Choir Boy. During a school ceremony, tenor Pharus Jonathan Young is interrupted -- mid-solo -- by a homophobic slur.
Will Bellini explaining he no longer writes because "I ran out of things to say" sate the on-lookers? How about the will-he-or-won't-he-do-it suspense of tenor Rubini's hitting that ground-breaking "Credeasi misera" high F?
First came Roundabout Theatre Company's Roundabout Underground, then came Lincoln Center Theater's LCT3 and, now, Manhattan Theatre Club's The Studio at Stage II. Its official debut is this week with the opening of the musical Murder Ballad.
Every once and a while when the lights come up at the start of intermission of a play, I am confused because I feel like I haven't been sitting in the dark all that long. Such was the case at the Manhattan Theatre Club revival of Henrik Ibsen's An Enemy of the People.
In this season of American politics it was especially engaging to witness Ibsen's political engagement of some of the same arguments we are still having in the 21st century -- the tyranny of the majority, and even the morality of trickle-down economics.
I've generally believed that when large groups of people get together to hear music, some level of chaos is inevitable -- the light rail line at All Points West comes to mind -- but the organizers behind Governors Ball proved me wrong this weekend.