Of the seemingly infinite binaries into which the world can be divided, a telling one for theater-going audiences is those who are drawn to musicals that feature singing nuns and those who must be dragged kicking and screaming to such shows. This critic falls squarely in the latter camp.
Not long after the 1955 play “Cat on a Hot Tin Roof” earned renowned 20th Century American playwright Tennessee Williams his second Pulitzer Prize and the Drama Critics Circle Award, he published an essay in Playbill magazine about the playwright’s relationship to the director of his plays.
The songs outshine the script — how could it be otherwise? — in “Motown the Musical,” written by none other than Motown founder Berry Gordy (adapting his autobiography, “To Be Loved: The Music, The Magic, The Memories of Motown”) and scored with more than 50 of the immortal tunes his record label issued between 1958 and 1983.
“Imagination is the only weapon in the war against reality,” the Cheshire Cat purrs in “Alice in Wonderland.” In today’s post postmodern cultural landscape of the information age, in which “alternative facts” litter our news and going “down the rabbit hole” is a central and daily metaphor in our individual and collective lives, there is perhaps no more appropriate story.
Failure is not a word that many people take lightly. It's certainly not something many would like to admit they are dealing with or have experienced. And yet, a local business-turned-movement is celebrating five years of failure this month.
Featuring a 42-member cast, singing, dancing and high-flying effects, Muskegon Civic Theatre hopes to fill Frauenthal Theater and wow audiences with its spring musical, Mary Poppins.
Lizzy Stone, a music theatre major at Western Michigan University, said her parents enrolled her at Portage Northern High School specifically for its esteemed drama program.
Devin Price was prepared to live the life of a struggling actor in New York City, but it didn’t take the Lansing native long to land a plum role in Motown: The Musical.
In Farmers Alley’s crowd-pleasing, high-energy production of 1940s-era musical revue The Andrews Brothers, straight men dress up as women, white Americans dress up as indigenous Pacific Islanders, and a middle-aged woman dresses up as an ingenue.
By now, most people are familiar with Rosie the Riveter, the symbol representing the legions of women who filed into the workplace during World War II to take over the jobs of men sent overseas. Often, they were working to aid the war effort.
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