Wild Goose Dreams at The Public Theater

In Hansol Jung’s tender, poignant and humorously human Wild Goose Dreams, The Public Theater’s entire third floor space is transformed into a the city of Seoul, South Korea (the inventive and imaginative design is credited to Public and Broadway veteran, Clint Ramos) through a vibrant visual plethora of candy-colored campaigns and neon notifications with a small sampling of blown-up family photos scattered between. This manic mosaic sets the chaotic tone of a modern world where various sights and sound bites compete for attention -- though that only creates a feeling of deeper isolation amidst all the noise. But the eye-bruising visual

The Mobile Unit’s A Midsummer Night’s Dream at The PUBLIC Theater

Though some of the fantastical fairies and magically made-up men and women may have hung up their glittery wings and cast off their gilded lids and long lashes on November 1st, the true enchantment continues through November 17th at the Public Theater with The Mobile Unit’s playful production of Shakespeare's A Midsummer Night’s Dream. This costumed comedy of trickery is the perfect treat for the post-Halloween season. And, thanks to the mission of The Mobile Unit (a reinvention of the “Mobile Theater” originally founded in 1957 by Joe Papp) that art should be free and accessible to everyone -- the

BROADWAY: GETTIN’ THE BAND BACK TOGETHER AT THE BELASCO THEATRE

(WARNING! Contains spoilers) New York City -- the most dazzling and difficult place to live out your wildest dreams and fantasies. They say: “If you can make it here, you can make it anywhere,” but truth be told, many don’t make it. Such was the case for Mitch Papadopoulos (played by Mitchell Jarvis) -- the protagonist of Gettin’ the Band Back Together -- a Jersey boy turned stockbroker who had to revert to living with his mother in his childhood hometown across the Hudson River in Sayreville, NJ, after his career took a nosedive when he turned forty. The show can be

NINAGAWA Macbeth at Lincoln Center’s Mostly Mozart Festival

Feudal Japan might seem an unlikely setting for the Shakespearean masterpiece known as the “Scottish play,” but in actuality it could not be more interesting or appropriate, as was made clear through the vision of the late director, Yukio Ninagawa’s emotionally compelling, visually electrifying ode to the Bard’s  killer couple -- NINAGAWA Macbeth -- playing at the David H. Koch Theater as part of Lincoln Center’s annual acclaimed Mostly Mozart Festival. This exceptional revival of Ninagawa’s landmark 1980 production was the last production overseen by the legendary director before his death in 2016 and these performances mark the work’s final

Desperate Measures at New World Stages

It’s a rare thing when all of the elements come together perfectly to create true theatrical magic. One of the most recent examples of that kind of kismet is a delightfully riotous romp called Desperate Measures, now playing Off-Broadway at New World Stages after its multi-award winning (Drama Desk, Outer Critics Circle and Off Broadway Alliance) and numerously extended run at the York Theater last year. The plot, which examines how justice is served and manipulated, is loosely based on Shakespeare’s Measure For Measure. The setting is the Wild West where Johnny Blood (Conor Ryan) waits in jail with a drunken,

Chita Rivera Awards 2018 at NYU Skirball Center

At the Chita Rivera Awards on Sunday, Tony Yazbeck, winner of Outstanding Male Dancer in a Broadway Show (for Prince of Broadway), a gentleman onstage and off, modern-day mensch of movement, and the Gene Kelly or Fred Astaire (for whom the Awards were previously named) of this era, recalled his journey to becoming a true triple threat: "Dance has been part of my soul since I was four. I was a dancer first and foremost, and when I was a kid I never wanted to do anything else. Then I did Gypsy and saw Tyne Daly, through song, dance and

La MaMa Moves! Dance Festival: “Les Choses Dernières” & “To Catch A Terrorist”

The opening weekend of the acclaimed La MaMa Moves! Dance Festival featured the only two headlining works which would perform at the Ellen Stewart Theater -- an intimidating space for such intimate dance pieces. One, Lucie Grégoire Danse Company’s Les Choses Dernières: the New York premiere of a solo work made famous by the Montreal-based choreographer, now passed on to another dancer, and the other, Egyptian creator/performer Adham Hafez and HaRaKa Platform’s To Catch A Terrorist: a world-premiere of a new work and collaborative effort that utilizes spoken word as much as body language. Both explored disturbing topics that are

Mobile Unit: Henry V at The Public Theater

At any given moment in a theatrical season, it is likely there is a Shakespearean production being performed in both major and minor theatres and cities across the English-speaking world. The Bard’s relentless staying power is undeniable. But how do modern companies keep the work fresh and relevant, particularly the Histories, many of which are set in times, places and about people which seem to bear little significance on contemporary life in America? One simple answer is that at the root of all of these stories lie rich, complex and utterly human characters whose grappling with their struggles and delights in their

Cirque du Soleil VOLTA Brings Its New Big Top Show to The New York Area

There is simply nothing that can compare to the circus -- the dazzle, danger and derring-do, the shrieks of joy and gasps of amazement at the sheer feats of human accomplishment, both bizarre and beautiful at the same time. The “under-the-big-top” traveling, tented circuses have been around for hundreds of years and the origins of the acts, from juggling to contortion, for thousands of years, utilized to entertain both royal courts and street corners. But like all art forms, circus has fallen in and out of fashion over the eras as increasingly sophisticated audiences demanded much more than the mere

One Thousand Nights and One Day at A.R.T/New York Theatres presented by Prospect Theater Company

Humankind is made up of stories: the stories we tell others, those we tell ourselves, our version of the story, and even history is only a series of stories stamped with a seal of approval to be considered by the ruling power as “the truth,” though it is no more than yet another observation or opinion on what transpired. Stories have the ability to make us -- for they are the foundation where legends and heroes are born. But they also have the power and capacity to break us and tear us apart from our own kind, to separate us

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