Saturday, May 18, 2024
A play about nuclear arms negotiations in the 1980s should be a dated piece of interest only to historians of theatre, and perhaps, of nuclear strategy. Lee Blessing’s “A Walk in the Woods” is as relevant today as it was when it was written almost 30 years ago, though. For one thing, our world hasn’t grown out of nuclear threats, a disappointment felt heavily by those of us who thought the end of the Cold War might mean something better. More importantly, though, Blessing’s script isn’t about throw-weights, megadeaths, SLCMs, ICBMs, Pershing IIs and SS-20s (I’ll spare you the definitions,
Tag: Off-Broadway
Cruel Intentions: The ’90s Musical Experience at (Le) Poisson Rouge
Sit back, grab a drink and strap yourself in for a ride on this sonically brilliant, delightfully cheeky romp through '90s nostalgia that's easily the most fun you'll have on or Off Broadway all year! With the current conditions of the world, it's no surprise and perhaps even the responsibility of the arts to portray and reflect upon where we are and how we got here. The result is (or can be) impactful and deep yet often heavy work laden with meaning and statements on our state of affairs. Even in comedic or satirical efforts such as Mankind or Jerry Springer
Theatre: Musicals Tonight! presents ‘Calamity Jane’ at the Lion Theatre
This will serve as both a review and a testimonial. Mel Miller, the artistic director of Musicals Tonight!, has announced that "Calamity Jane," his hundredth production, will be Musicals Tonight!’s last. For two decades he’s produced vest-pocket versions of musicals ranging in original size from intimate to enormous, and ranging in fame from household-word to incredibly obscure. He’s given us operetta ("Mlle. Modiste," "Naughty Marietta"), New York premieres of good West End shows ("Hoi Polloi," "Love from Judy"), Broadway flops that improved on his small stage ("My Favorite Year"), out-of-town casualties by major writers ("That’s the Ticket"), and musicals we
From the Horse’s Mouth: A Celebration of Egyptian Dance in All its forms and Traditions
The evening begins with an invocation to Egyptian goddess Hathor, praising her as “mistress of dance,” and “lady of jubilation.” But the woman who takes the stage is more evocative of Egyptian goddess Bastet with feline features and a catlike stride. Her stature barely surpasses 5 feet and yet she commands the entire space of the Theater at the 14th Street Y with her stately presence. This is Magda Saleh, the woman of honor and inspiration for this week long series of events and performances celebrating Egyptian dance, “in all its forms and traditions.” Ms. Saleh sets the tone with an
Black Light at Joe’s Pub at the Public Theater
Jomama Jones is a celestial goddess, a High Priestess from the cosmos who has come down to Earth through the channel of Daniel Alexander Jones, to inspire and teach (but never to preach) in Black Light, a godsend of a production now playing at Joe's Pub at the Public Theater, as part of the mainstage season, through March 25th. There's even a specialty cocktail to mark the occasion, featuring activated charcoal with a purple glow stick as a stirrer to offset the darkness. We could all use a bit of aura cleansing and illumination at such crossroads, and an evening with
Jerry Springer The Opera Presented by The New Group at Pershing Square Signature Center
As Andy Warhol prophesied: "In the future, everyone will be world-famous for 15 minutes." If only he understood just how true that statement would become! The artist and businessman, also known for adoring, although possibly exploiting, misfits and outcasts by making them into his Superstars, paved the way for the talk show boom of the late 1980s into the 1990s, which birthed the likes of Phil Donahue, Sally Jessy Raphael, Morton Downey Jr., and of course, Jerry Springer. But it was the guests, made famous for their infamous behaviors - the trannies, the trash talkers, people with quick tempers, loose
“Subways Are for Sleeping” at the Theater at Saint Peter’s
Listen to the original Broadway cast recording of “Subways Are for Sleeping.” Whatever played at the St. James for a disappointing 205 performances in 1961-62, this is an album of a hit. It opens with a scintillating Jule Styne overture, encompassing subway effects (“Ride Through the Night”), typical Styne rhythmic sass (“Comes Once in a Lifetime”), tuneful Christmas cheer (“Be a Santa”), and the big warm ballad that should have become a standard (“I’m Just Taking My Time”), all wrapped up in some of the best orchestrations Philip J. Lang ever wrote. (This overture opened the second act of “Hey,