THE HANGOVER REPORT – ICONS/IDOLS: IN THE PURPLE ROOM is a scrappy but ambitious hybrid of choral drama and immersive installation

This weekend at the New Ohio Theatre, I attended Icons/Idols: In the Purple Room presented by Byzantine Choral Project, a music theater company that champions women’s voices (both cis and … Continue Reading →

VIEWPOINTS – Women of hip-hop and musical theater showcase their magnificence: WORD. SOUND. POWER. & Sutton Foster et al. in BRING ME TO LIGHT

Over the past week or so, I had the opportunity of streaming a pair of virtual concerts that – although drastically contrasting – both showcased the magnificence of women. Presented … Continue Reading →

VIEWPOINTS – The lieder dreamily engages contemporary existential matters in THE WANDERING & WE NEED TO TALK

This week, I encountered two fascinating productions that use the lieder (i.e., nineteenth century art songs, typically set to poetry) – or the form of the lieder – to dreamily … Continue Reading →

VIEWPOINTS – THE BROKEN EAR SETLIST & WEIGHTLESS: The Bengsons and the Kilbanes explore the intriguing possibilities of the “theatrical concert”

I recently streamed a pair of productions that, in my estimation, compellingly explore new avenues in music theater, particularly the intriguing possibilities of the “theatrical concert” sub-genre. Here are my … Continue Reading →

THE HANGOVER REPORT – Maestro Esa-Pekka Salonen leads the New York Philharmonic in a caressing in-person performance at The Shed

Last night, I attended the first of two socially distanced in-person concerts performed by the New York Philharmonic, courtesy of The Shed’s eclectic “An Audience With…” series (the second concert … Continue Reading →

VIEWPOINTS – Representing at the Guggenheim: In-person performance returns to the museum’s iconic rotunda with energizing beatbox, street dance, and ballroom

Today marks the first day that New York performance venues (which include theaters, comedy clubs, music venues, etc.) can officially present live indoor shows at long last – albeit at … Continue Reading →

VIEWPOINTS – Streaming Diary: The artistry of Balanchine, Beckett, and Guettel bring much-needed texture to the austere latter days of this pandemic winter

This weekend, I streamed a diverse, truly exceptional trio of works by indisputable masters from the worlds of dance theater, dramatic theater, and music theater – George Balanchine, Samuel Beckett, … Continue Reading →

VIEWPOINTS – Opera companies turn to other mediums to persist the art form: SOLDIER SONGS & THE FALL OF THE HOUSE OF USHER

Apart from filming opera productions in empty auditoriums for streaming consumption (which was the case with Opéra-Comique’s buoyant recent production of Titon et l’Aurore directed by master puppeteer Basil Twist), … Continue Reading →

VIEWPOINTS – Despite the times, impactful new opera and music theater continue to enrich PROTOTYPE

Those of you who think opera is an antiquated art form with little relevancy should look no further than Prototype, the annual festival celebrating new opera and music theater, which … Continue Reading →

VIEWPOINTS – A roundup of the Public Theater’s digital 2021 UNDER THE RADAR FESTIVAL

This time last year, I was furiously hopping from show to show as I immersed myself in the city’s various “experimental” (for a lack of a better term) performing arts … Continue Reading →