Years ago, Muskegon’s Frauenthal Center welcomed to its stage The Dance Theatre of Harlem. The organization was founded in 1969 by Arthur Mitchell,a principal dancer with the New York City Ballet and protégé of the famed George Balanchine.
This Christmas may feel different than years past, but it’s still the most wonderful time of the year at the Barn Theatre where it’s festive and joyful as all get out with the return of their Christmas Cabaret, a delightful performance to complete their marvelous 75th anniversary season.
Are you a supporter of the performing arts but struggle with the affordability of season tickets? What about the dreaded commitment to purchasing tickets for performance dates months in advance?
To tire of talking lobsters is to tire of life. Thankfully, Jewish Theatre Grand Rapids retains its youthful energy.
Two and a half weeks before Wellspring/Cori Terry & Dancers opened their first live, in-person performance since before the pandemic, one of the dancers tested positive for COVID-19, causing them to scrap one of the central dances they’d been rehearsing for “Unbound,” their fall concert of dance that opened Friday.
It’s been more than five years since the original Murder for Two, the musical murder mystery featuring more than a dozen characters but only two actors and a singular piano, wowed Kalamazoo audiences as part of the Gilmore Keyboard Festival with the high-octane, madcap, vaudevillian, award-winning comedy.
In 2016, Murder For Two ran at Farmers Alley Theatre, in Kalamazoo. The musical, which centered (antically) on a detective’s interrogation of thirteen suspects, was a hit; co-founder and artistic director Jeremy Koch told me that it is among the theater’s most requested re-stagings.
The Barn Theatre in Augusta is making people’s dreams come true in bringing their magnificent, fan-favorite rendition of cult-classic “The Rocky Horror Show” to the stage just in time for Halloween.
The idea of transforming visual art into an immersive experience is not new, and the tremendous success of the touring Van Gogh Immersive Experiences recently is but one extraordinary example.
Though first appearing Off-Broadway in 1995, Jason Robert Brown’s “Songs for a New World” feels aptly named now, especially in its beautiful form as the first show at Farmers Alley Theatre in 600-or-so days since the pandemic shut them down.