Sweeney Todd is by any measure a triumphant show, the kind that makes an audience understand why Broadway is American theater’s gold standard
The New York City Opera has become an elusive “now you see it, now you don’t” presence in the New York opera scene since the departure of main sponsor and chairman of the board Roy G. Niederhoffer in 2019.
Steve adored puzzles, solving them and creating them, so it makes you wonder that this one continued to fester—was that so few of his songs attained the rank of “standard.”
When I think of Stephen Sondheim, so many of my memories are not simply about shows of his I loved and learned from—they are experiences that literally shaped my life.
Stephen Sondheim turns 90 on Sunday, prompting Trove Thursday to present his most “operatic” work, Sweeney Todd, in a rare 2002 performance with Christine Baranski and Brian Stokes Mitchell as the murderous duo.
“Trove Thursday” pays tribute to the great German bass Kurt Moll
Fosca, finalmente mia!
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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