David Fox and Cameron Kelsall take on a new revival of Gypsy: Is there any gayer or more impassioned theater topic?
For anyone who thought that Downton Abbey, with its plot lines divided between the gentry and their faithful (or not-so) servants was somehow unique, that particular tale, and lo its many variations, has been told in one form or another since Pierre-Augustin Caron de Beaumarchais put quill to paper in 1778 with La Folle Journée, ou Le Mariage de Figaro.
Jerry Zaks’ high-gloss production, which trades heavily on a bland Americana at odds with the sharp satire of Meredith Willson’s libretto and timeless score, operates on all cylinders but fires on hardly any.
Dolly definitely did not have me at Hello!
A wonderfully committed Ailyn Pérez and Gerald Finley at Saturday afternoon’s revival abetted by Emmanuel Villaume’s passionate conducting converted me to a Thaïs believer.
Sometimes when you find the club that will have you as a member, you do not easily give up your spot.
LA Opera opened their 30th season with a pairing of two of their most popular productions, both of which were initially staged by filmmakers not unfamiliar with the vagaries of our industry outpost here in Hollywoodland.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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