The New York Gilbert and Sullivan Players are celebrating their 50th Anniversary Season presenting Ruddigore (last month), The Pirates of Penzance (first two weekends in January), and Iolanthe (on its way in April).
Since April four wildly varied incarnations of Hamlet have been haunting New York City theaters; the most recent to arrive was Robert Icke’s chicly contemporary take on Shakespeare’s play which opened last week at the Park Avenue Armory.
A nonstop flow of COVID related announcements from New York City performing arts organizations has swept the city the past weeks.
For a show set during the hardscrabble 1930s, very few of the performances give off an air of downtroddedness.
If Frank Castorf‘s work on Der Ring des Nibelungen at Bayreuth accomplishes nothing else, it should serve as a sort of loud disorganized reminder of the dangers of indulging in the intentional fallacy.
Need you ask who discusses the subject of nudity in opera (among other performing arts) in today’s Times? [W]hen nudity seems called for and natural, it can lend disarming humanity to a drama. There was, for example, Richard Greenberg’s “Take Me Out,†at the Public Theater in 2002, about a superstar baseball player who reveals…
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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