The Mikado debuted in March of 1885 and never really left the stage. Popular at the time, it remains popular now, as beloved for its smart humor as its beautiful music.
With “Firebird,” Grand Rapids Ballet’s exquisite season opener, the company shows its extraordinary range, relevance, and reach under James Sofranko’s artistic direction, and that they never been stronger, better, or more beautiful as a company.
For the first time, The Barn Theatre in Augusta has emerged from its Summer Stock mainstay to offer their truly delightful rendition of The Rocky Horror Show at the most appropriately ghoulish and freaky time of the year, though it’s actually the 12th time they've performed this campy cult classic rock musical for adoring fans both old and new.
The actors in Farmers Alley Theatre’s current production of “Camelot” don mesh shirts over tank tops with tight black trousers and ornate period vests and peplum jackets in gorgeous fabrics that come off and on as needed.
Pilobolus wants to help you come to your senses. The East Coast dance company knows you can watch performances on your phone, but that doesn’t at all compare to seeing a dance show live.
Having gotten lost in a great forest, Prince Ivan finds himself in the realm of Koschei the Immortal, a terrible villain whose soul lies hidden inside an egg. The prince falls in love with a princess, triggering Koschei’s wrath. It is only through the intervention of a firebird, who has herself fallen for the prince, that the egg is destroyed and happiness gained.
Ebony Road Players’ new show tells stories all about the experiences of women of color, and the theater group says the stories are for everyone to hear.
A local comedy club is teaching people the skills of comedy writing, performance and improv, but not all of those people end up onstage. Many of them simply want to apply the skills in their everyday life, whether it’s as a writer, an actor or just in social settings.
It’s a very different world today than the one in which “Hedwig and the Angry Inch” burst onto the Off-Broadway scene in 1998. This critic was tits-deep in queer theory and Judith Butler’s ideas about gender identity formation as a wide-eyed undergraduate, and mainstream culture wasn’t in any way ready for a rock musical/cabaret featuring a heart-broken, foul-mouthed, East German, gender fluid rock star who suffered from botched sex reassignment surgery. But the theater world was — as it always is for a brilliant character with righteous dramatic flair.
One of the most beautiful aspects about live theater is its ability to take people back to a moment in their own lives, a memory that’s ingrained in their brain from long ago or an event that recently happened. With the Wharton Center’s season opener, Come From Away, most members of the audience will probably have at least one memory or two of the event at the center of the musical: 9/11.
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