Can a fabulously rich woman find happiness with a relative pauper? Can a woman with a father fixation come to terms with an oedipal mate? What happens when parents influence their children (and their choice of partners) from beyond the grave? Come and find out.
…Billy Pacholski has mounted a workable production of Stephen Sondheim’s strange musical. The video (by Ryan Fukuda) underscored the events presented nicely and the general tone of the work went for presented the assassins as ‘real people- just like us according to producer/director Billy Pacholski’s production notes. But since these dysfunctional folks were a mixture of insane and demented losers, any attempt to show them as ‘regular’ folks failed from the outset.
A stunning piece of stagecraft that melds big ideas with personal stories in this revisit of the National Theatre of Scotland’s landmark production.
The combination of having all the players and musicians performing (and looking like clowns) utilizing the physical gesture and practices of European Clowning techniques together with ample use of Quezada-Perez’s invention of “la mise en clown” style of theatre makes for a special theatrical experience.
This show uses silly humor, parody, and loads of music to re-write history while also containing a subtext about how and why we select our leaders. The 100 minutes are fun, often exhilarating. While I’m not a fan of punk rock music, I found those numbers cute and appropriate to the material and style of the show.
The energy and talent of these woman was quite apparent. Echoles uses the standard BE playbook that utilizes the music of favorite entertainers, here: Aretha Gladys, Tina, Patti with a special tribute to Whitney within the framework of a contest reality show to exhibit the fresh young talent. The result is a story based musical that has us engaged in the process of helping select one winner for the “One Name Only” reality TV show framework.
An icy tale of revenge that’s served hot. An excellent Halloween-season diversion—a psychologically suspenseful journey into the mind of victim-turned-vengeance-incarnate.
Richard Strauss’ music is avant-garde, grandiose, and dissonant. The power and emotional range of the tragedy is heard in the strength of the moving musical tones. They work marvelously with the tour de force performance by Christine Goerke in the title role
Kudos to the creatives at Light Opera Works for creating a revue of the finest songs from Viennese, Berlin, London, and American operettas. These wonderful songs can easily stand on their own devoid of plot. They range from waltzes, ballads, polkas, and marches contain lush music and fine lyrics; romance, frivolous encounters, often satirical, and sentimental tones prevail.
Questions: In a play titled The Mistakes Madeline Made, why are none of the characters named Madeline? In a play which the PR describes as being about a girl who develops Ablutophobia (the fear of bathing), why is a man always sitting in her bathtub? (Is he preventing her from bathing?) And, finally, who are these people and what is this play about?