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New York
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Concert / Film Review: THE PHILIP GLASS ENSEMBLE: POWAQQATSI (Town Hall in New York)
A STUNNING COLLABORATION OF FILM AND MUSIC I saw a special gem at the Town Hall last Monday, a viewing of Godfrey Reggio’s Powaqqatsi with its celebrated score – created by Philip Glass, who was in the house, and performed live by The Philip Glass Ensemble. The non-narrative film is the second of the Reggio/Glass…
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Dance Review: DEAR LORD, MAKE ME BEAUTIFUL (World Premiere by Kyle Abraham at Park Avenue Armory)
IT IS, INDEED, BEAUTIFUL Wavering graphics of kaleidoscopic greenery paint the Park Avenue Armory, transforming the space into a trippy, mystifying woodland. Kyle Abraham, choreographer and dancer in Dear Lord, Make Me Beautiful, runs around the stage’s perimeter in an expansive circle. His energetic speed embodies that of a child who has escaped the clutches…
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Dance Review: A VERY SW!NG OUT HOLIDAY (The Joyce)
HAVE YOURSELF A SW!NGIN’ LITTLE XMAS Nimble and percussive feet, wild windmill arms, and bright brilliant smiles are abundant and infectious throughout A Very Sw!ng Out Holiday, running until December 15 at The Joyce. Created by Caleb Teicher with a collection of collaborators known as Braintrust, and produced by Joyce Theater Productions, the spirit-infusing event…
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Off-Broadway Review: LIFE AND TRUST (Emursive in Conwell Tower, Manhattan’s Financial District)
PUT YOUR LIFE AND TRUST INTO THE HANDS OF LIFE AND TRUST There is a daunting immersive theater experience in Manhattan’s Financial District that is also somehow prophetic. The location, 69 Beaver Street, is already scary at night, surrounded as it is by empty, dark urban canyons; the address is one of the side entrances…
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Dance Review: COMPLEXIONS CONTEMPORARY BALLET 30TH CELEBRATION (Program B at The Joyce)
I’M NOT SAYING I’M OUT FOR BLOOD, BUT FOR CRYING OUT LOUD… As four spry dancers emerged through the hazy illumination, I wanted to believe their forms could transport me into their dusty hollow desert. Howling winds paired with the sparse plucking of guitar strings by Chief Adujah surged through The Joyce, cultivating an eerie,…
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Off-Broadway Review: THE BLOOD QUILT (Mitzi E. Newhouse Theater at Lincoln Center)
A QUILT BLANKETED BY PREDICTABLE STITCHING Quilts always intrigued me; for millennia, women took scraps of fabric from discarded items and made quilts to be used for warmth or decorative purposes. Most of us had one made by a Grandma or a Great Aunt: they stored the patches of material until they had enough to…
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Broadway Review: DEATH BECOMES HER (Lunt-Fontanne)
DEATH BECOMES HER BECOMES BROADWAY I had opposite opinions this week between the opening of the film version of Wicked and the new Broadway musical comedy Death Becomes Her. Wicked outsoared the Broadway version; the movie gave me more heart, warmth, and laughs than I ever got from the original (still running since October of…
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Off-Broadway Review: NUTCRACKER ROUGE (Company XIV)
GET READY TO CRACK SOME NUTS WIDE OPEN Christmas can be very sexy if you step into the sumptuous world of Théâtre XIV in trendy Bushwick, and catch Company XIV’s neo-Baroque classic Nutcracker Rouge. Naughty, sensual, lavish, this decadent extravaganza is the perfect welcome to the holiday season, and certainly not family oriented so leave…
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Broadway Review: ELF: THE MUSICAL (Marquis Theatre)
THE BEST HOLIDAY GIFT ISN’T UNDER THE TREE, IT’S ELF AT THE MARQUIS Elf, the charming story of Buddy, the orphan who crawled into Santa’s sack one Christmas Eve and was raised at the North Pole, surrounded by Santa and his elves, has been delighting young and old since 2003, first as a film and…
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Theater Review: HEXEN: AN ANCESTRAL WITCH PLAY (Tour at El Portal Theatre in North Hollywood)
CONFRONTING THE CURSE It is a signal accomplishment to produce 70 minutes of solo theater which are all the things Hexen manages to be: solemn, playful, enchanting, insightful, and finally, deeply moving. I first encountered Dreya Weber, the sole performer of Hexen (“witches” in German) at the bar before the show. When an exceedingly quirky…
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Concert Review: ONE NIGHT ONLY: AN EVENING WITH MAX VON ESSEN (New York Pops at Carnegie Hall)
MAX VON ESSEN HAS A KNOCKOUT CARNEGIE HALL DEBUT Max von Essen is no spring chicken, having made his Broadway debut in the 2000 revival of Jesus Christ Superstar. Nevertheless, when he bounced onto the stage at Carnegie Hall with The NY Pops orchestra for One Night Only: An Evening with Max von Essen on…
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Broadway Review: SWEPT AWAY (Longacre Theatre)
PREPARE TO BE SWEPT AWAY What happens when we are faced with extreme necessity? The 1884 tragic wreck of the yacht Mignonette was a cause célèbre in late 19th-century Britain, but not because a crew of four were stranded off the Cape of Good Hope on the South African coast; it was the devastating outcome…
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Dance Review: COMPLEXIONS CONTEMPORARY BALLET 30TH CELEBRATION (Program A at The Joyce)
As the curtain rises on Complexions Contemporary Ballet, I am greeted by five gorgeously toned, leggy dancers with sinewy rippling musculature arranged in a staggered line. Their bodies, racehorse-like vessels glowing under harsh spotlights, denoting a company of acute physical bravado. Last night began a two-week celebration of its 30th Anniversary Season — a repertoire…
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Broadway Review: DEATH BECOMES HER (Lunt-Fontanne)
DEATH BECOMES HER IS NOT FOR PURITANS OR VICTORIAN GRANDMOTHERS. BUT HOW MANY OF THEM ARE AROUND TODAY? Death Becomes Her, the new musical based on the eponymous 1992 black comedy/fantasy and gay cult classic, starring Meryl Streep and Goldie Hawn, is boisterous, loud and crass. It’s filled with tasteless one-liners and bawdy slapstick. And…
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Off-Broadway Review: BABE (The New Group)
A GENERATIONAL GAP AND A PLAYWRITING GAP As a result of the #MeToo movement, there has been much brought to light about women working in America. But here’s a note to the younger generations about life for women in the 80s: if you were homosexual, you were considered a pervert and treated as such; when…
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Off-Broadway Review: THE BIG GAY JAMBOREE (Orpheum)
JUST AS PROMISED, IT’S BIG! IT’S GAY! IT’S JAMBOREEING! Yes, there is a way to escape the post-election blues for 90 minutes: The Big Gay Jamboree at the Orpheum Theatre is the sublimely ridiculous remedy we need. Marla Mindelle — who co-wrote the book with Jonathan Parks-Ramage and the songs with Philip Drennen — definitely has a…
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Dance Review: WONDERLAND (GALLIM at The Joyce)
YOU’LL WONDER WHY THIS PIECE DOESN’T LAND When watching the dancers of Brooklyn-based GALLIM perform Wonderland tonight, it became exceedingly apparent that the landscape of movement executed was anything but. Miller’s Wonderland could be described with an amalgam of adjectives; if “wonder” was to be one of them, then the sentiment did not gleam with…
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Off-Broadway Review: SLEEP NO MORE (Punchdrunk Theatre Company at McKittrick Hotel; Closes on January 5, 2025)
SOMETHING WICKED THAT WAY GOES No plague can kill a great show. It came back after COVID. In a rare clash of film noir, performance art, an awesome murder mystery party, and Shakespeare, Punchdrunk’s Sleep No More is the ultimate voyeuristic thrill. Audience members don Venetian masks and explore the depths of the 1930s-style McKittrick…
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Off-Broadway Review: KING LEAR (The Kenneth Branagh Theatre Company at The Shed)
A NEOLITHIC AND LEAN LEAR Shakespeare’s works can be read in many ways and I have witnessed so many diverse stage interpretations that I never know what I am about to see when I venture towards one of his plays. This time it was King Lear, which opened tonight at The Shed, directed by Rob Ashford, Kenneth Branagh,…


















