This week, Chris’s Cache offers a performance of Follies from 2007 featuring Lucine Amara as a rarely richly sung Heidi alongside Donna Murphy and Victoria Clark.
Strike Up the Band! cried the brothers Gershwin (and book-writers George S. Kaufman and Morrie Ryskind) in the first of their three satirical, vaguely political operettas—sort of jazz Gilbert & Sullivan—that they dreamed up in the late 1920s.
I confess to being a “bad” dance fan: over the decades I’ve learned that if I don’t love (or at least like) the music, I won’t love the dance.
I see in Kimberly Akimbo an audacious idea, once unthinkable territory for a musical, which is realized through a highly imaginative and often unpredictable use of song and especially open-ended ensemble writing.
“Spring has sprung,” announces MasterVoices’ director Ted Sperling with a smile at the beginning of Part III. And indeed, even the doomsayers among us (and I count myself one) can’t help but feel signs of cautious optimism, as the world we knew slowly but noticeably begins to re-emerge.
In the most hectic and sometimes marvelous year of theater I’ve had in memory, Lady in the Dark at MasterVoices this weekend thrilled me most.
A semi-staging of Dido and Aeneas starring Broadway divas and frequent collaborators Kelli O’Hara and Victoria Clark seemed a screwy idea at best.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
×
Sign up for Parterre’s free newsletter.
Exclusive opera reviews, commentary, and top reads
delivered to your email weekly…ish.