Category Archives: Theater

Tidewater Opera Initiative: Fearless Performance

If you need proof as to the truth of Henri Matisse’s observation, “Creativity takes courage,” you need go no further than the weekend performances at Norfolk’s funky Hugh R Copeland Center of Mozart’s Der Schauspieldirektor and Henry Purcell’s  Dido and Aeneas. The Tidewater Opera Initiative (TOI), a self-described “boutique opera company”, presented the pair of […]

TIDEWATER STAGE’S THE CHRISTIANS: ONE HELLUVA SHOW

Few of the “educated elite” in society still believe in the reality of Satan. C.S. Lewis exposed Satan’s now completed program to spread disbelief in The Screwtape Letters[i]: I do not think you will have much difficulty in keeping the patient in the dark. The fact that “devils” are predominantly comic figures in the modern […]

TIDEWATER STAGE’S THE 39 STEPS: A HILARIOUS HOMAGE

“Spoof’ was originally a late 19th century drinking game involving coins. By the late 1950s the term began to be used to describe a skit or “send-up” of a popular literary or cultural genre. By the late 1970s “spoof” had engendered a theatrical movement known as the “Theatre of the Ridiculous”, itself a send up […]

Druid’s WAITING FOR GODOT: An Irish Triumph

Garry Hynes’ amazing production of Samuel Beckett’s Waiting for Godot made its first stop on Druid’s American tour at Charleston, South Carolina’s 2017 Spoletto Festival, The occasion is significant for several reasons. First, the production demonstrates conclusively why Beckett’s famous play is rightly considered a masterpiece of dramatic theater. Second, Ms. Hynes production rescues the […]

EUGENE ONEGIN at the Met: Netrebko Redefines Tatiana

Some fans of Alexander Pushkin’s great and iconic verse novel Eugene Onegin can’t stomach Pytor Illyich Tchaikovsky’s operatic version. Too much of the master Russian author’s brilliance is lost, they say, in the opera’s simplified libretto, written in only nine days. Pushkin’s 1833 novel is a text that “divides Russian literature into a ‘before’ and […]

ShawChicago’s HEARTBREAK HOUSE: Shaw’s Black Comedy

The Great War and its prelude flabbergasted Bernard Shaw more than any other event in his life. In addition, the end of his relationship with Stella Campbell left him as close to heartbroken emotionally as he ever would be. The sobbing, humiliated, protesting, exposed, and unprepossessing character of Heartbreak House’s Boss Mangan reflects Shaw’s emotional […]

Lyric Opera’s Eugene Onegin: Tatiana’s Triumph

Like Shakespeare’s Julius Caesar, Pytor Tchaikovsky’s Eugene Onegin is not eponymous. The play is named, not, as Dostoyevsky famously argued, for the play’s main character, but rather for the character who sets the main character in action. The main character in Tchaikovsky’s opera is, instead, the country girl, Tatiana Larina. And Tatiana might owe her […]

The Goodman Theatre: Uncle Vanya , Our Contemporary

Todd Rosenthal’s sublime setting which greeted the audience entering the Owen theater alerted us to what was to come. Among the period pieces of furniture sat a 1950s-style blond wood arm chair and a chrome dinette chair. A 1920s-radio rested upon the piano and a goose-neck electric light roosted nearby. Then came the note by […]

Lyric Opera’s CARMEN: Ashford and Calleja Make History

“Bullfighting is the only art form that both represents something and is that thing at the same time: the matador’s elegant immobility in the face of the bull not only represents man’s defiance of death, it is a man defying death, and there are women who do it too.”[i] In Rob Ashcroft’s magnificent new telling of Bizet’s Carmen, the […]

Artistic Home’s BY THE BOG OF CATS . . . : Harrowing Irish Drama

Move over Lucia, Dido, and Norma! There’s a new operatic heroine in town. Marina Carr’s Hester Swane may not be a Scottish lady, or a Carthaginian princess, or a Druid priestess, but this down-and-out Irish tinker suffers more passionate abandonment by loved ones in her brief stage lifetime than all three opera divas suffer together […]