ReportWire

Tag: Theater

  • COVID forces San Jose’s City Lights Theater to end its season early

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    To borrow a phrase from the Go-Go’s 1980s heyday, “What a bummer.”

    A COVID-19 resurgence among its cast forced City Lights Theater Company in San Jose to cancel this weekend’s final performances of its summer musical, “Head Over Heels.” The show, effervescing with the music of the iconic ’80s band, was also City Lights’ last show of the season, so there goes that.

    City Lights Executive Artistic Director Lisa Mallette says keeping the cast, staff and audiences healthy comes first, but it has to be quite frustrating every time COVID — less deadly but still disruptive — shows up at the theater. City Lights cancelled previous performances in the run because of COVID, and San Jose Stage Company also cancelled the opening weekend of “Sweet Charity” in June for the same reason.

    “This virus is still dealing financial and emotional blows to arts organizations — and to any group that gathers people together in community. Theaters all over the country have had to cancel shows this summer,” Mallette said. “It’s painful to lose performances for any show, but this one is particularly hard, with such a beautiful cast and story, and with such a timely message of love and pride.”

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    Sal Pizarro

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  • The Antidote Fest lands at DSC August 23rd

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    Antidote Fest is an annual music and culture festival presented by The Antidote Studio, designed to uplift the community through music, art, and youth empowerment. Hosted in Detroit, MI the event features live performances from rising and established artists, DJs, and special guests, creating a high-energy environment for all ages.

    The festival serves as a fundraiser to support youth music programming and afterschool initiatives led by The Antidote Studio and SBEV (Sylvester Broome Empowerment Village). All proceeds help provide creative resources, studio access, mentorship, and safe spaces for young artists to grow.

    The Antidote Fest lands at DSC August 23rd

    2025 Details:

    • Date: Saturday August 23, 2025 6-11:30PM
    • Location: Detroit Shipping Company, 474 Peterboro St. Detroit, MI
    • Highlights: Live performances, DJ sets, food, giveaways, and community engagement

    Antidote Fest is more than just a concert, it’s a movement that merges music with mission, building a platform for youth voices and positive change.

    Global Food Vendors and Full Bar on-site

    Tickets: https://www.eventbrite.com/e/the-antidote-fest-4-tickets-1434779627489


    The Antidote Fest lands at DSC August 23rd

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    Metro Times Promotions

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  • Night Court Promises to Do (and Admit) No Harm in Latest Musical Law’s Anatomy

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    If the idea of a show put on by an all-lawyer theater company leaves you just a bit skeptical, don’t worry. Attorney Tara Taheri has heard it before.

    “Some people say, ‘Oh my gosh, that just sounds so boring. You’re just going to watch a bunch of lawyers on stage? What can possibly be fun about that?’” says Taheri, who serves as one of the executive producers, as well as media chair and cast member, of Night Court. “I always say this, and I really feel this way: Our shows are so entertaining for lawyers and non-lawyers alike. We poke fun at lawyers, pop culture, politics, and Houston stories.”

    Night Court has been staging original musical comedies annually for more than 30 years and, along the way, has raised more than $1.6 million for local charities providing free legal services to Houstonians in need. This week, the musical comedy theater troupe will present its 2025 production, titled Law’s Anatomy, at the Hobby Center for the Performing Arts.

    A creative production committee determines each production’s theme, and a certain long-running, Shonda Rhimes-created ABC medical drama won out for this year’s show.

    “I think for a couple of years there’s been a desire to do like a doctor-lawyer-type of Grey’s Anatomy theme,” says Taheri. “But, of course, the show is extended with so many other characters and themes.”

    During Law’s Anatomy, audience members will check into the fictional Houston Hope Hospital, where, for the sake of transparency, lawyers are accompanying doctors while they make their rounds.

    “The thing about doctors and lawyers is that they have a lot in common to begin with. They both take oaths. Doctors pledge first, do no harm. And lawyers pledge first, admit no harm,” jokes Taheri.

    Because of the setting, there will be some surgeries on stage as well as a trial scene. And like all of Night Court’s productions, the show will include an orchestra and musical performances featuring parodies of popular songs from artists like the Bee Gees to Chappell Roan. It also includes plenty of lawyer gags.

    “It’s full of those, and they’re well written. They’re funny. We really do make fun of ourselves. You have to,” says Taheri.

    In the show, Taheri will play a character called Med Mal Maggie – as in, Medical Malpractice Maggie.

    “I am searching for doctors to sue in the hospital. I am watching every single move they make so I can file lawsuits,” says Taheri. “I get to give the doctors a hard time.”

    Playing an antagonist is familiar to Taheri, who last played Stranger Things villain Vecna in 2023’s production, The Law Files. Though it’s not intentional, and Taheri says she doesn’t know how she’s cast until close to the show, she does see it as a positive.

    “It’s a really good area to grow as an actor,” says Taheri, adding, “Being angry and nasty takes a lot of energy. That’s what I’ve learned.”

    Taheri says Law’s Anatomy will feature new, and semi-new, blood in the cast and creative team in several ways.

    New members make up almost half the cast for the first time, which Taheri describes as “an anomaly.” And three of those new cast members, Taheri says, are her own associates.

    “I did help recruit quite a bit,” explains. “I reached out to law schools and really made a push to get new blood. I was happy with the outcome.”

    Also, when the troupe hits the stage, it will be after two years away (due to a leadership change that left Night Court unable to mount a production in 2024) and with Judy Frow back at the helm as director. Frow spent over 25 years with Night Court before stepping down as director after its 2022 show.

    “Believe it or not, she is back this year, and we’re so happy to have her. We also have our music director back,” says Taheri. “So, I think putting everything together and having somewhat new, but returning directors has been really interesting and exciting. They really do know Night Court. They know how it operates, and they’re just extremely talented.”

    Night Court’s commitment to charity remains unchanged, however, with proceeds from this year’s show set to go to Aid to Victims of Domestic Abuse, Child Advocates, The Children’s Assessment Center Children’s Court Services Program, Foster Care Advocacy Center, Houston Volunteer Lawyers, Lone Star Legal Aid Military Veterans Unit, and the South Texas College of Law Houston Legal Clinics.

    If you do happen to be a lawyer and need another reason to check out Law’s Anatomy, you can now earn two-and-a-half hours of ethics continuing legal education credit, up from the two hours offered to lawyers since 2015.

    And if you’re not a lawyer, Taheri has a simple invitation to extend.

    “Come out and have a great time,” says Taheri. “Enjoy yourself. Laugh with us, sing with us, and have a fun night out while benefiting some amazing charities.”

    Performances are scheduled for 7:30 p.m. Wednesday, August 20, through Saturday, August 23, at The Hobby Center for the Performing Arts, 800 Bagby. For information, call 713-315-2525 or visit nightcourt.org or thehobbycenter.org. $45-$49.

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    Natalie de la Garza

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  • What to Stream: Vanessa Kirby, Maroon 5, Madden NFL 26, Alicia Silverstone and ‘The Chicken Sisters’

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    Vanessa Kirby starring in a gritty film about the aspirations of home ownership, “Night Always Comes,” and Maroon 5 releasing their eighth studio album with songs featuring Lil Wayne and Blackpink’s LISA are some of the new television, films, music and games headed to a device near you.

    Also among the streaming offerings worth your time, as selected by The Associated Press’ entertainment journalists: Alicia Silverstone leading a new TV crime drama called “Irish Blood.,” the multigenerational, wholesome drama “The Chicken Sisters” rolls out its second season on Hallmark and EA Sports jumps aboard the artificial intelligence bandwagon with Madden NFL 26.

    New movies to stream from Aug. 11-17

    — Isaiah Saxon’s “The Legend of Ochi” (streaming Friday on HBO Max) is a handcrafted fantasy throwback seeking to conjure the kind of magic once found in movies like “The Never Ending Story.” The A24 film stars Helena Zengel as Yuri, a girl who runs away from the forest home she shared with her father (Willem Dafoe) and brother (Finn Wolfhard). She leaves with a baby Ochi, a creature hunted by her father. In her review, AP Film Writer Lindsey Bahr wrote that “The Legend of Ochi” “has the feeling of a film you might have stumbled on and loved as a kid.”

    — Vanessa Kirby may be one of the standout performers of the summer blockbuster “The Fantastic Four: First Steps,” but she also stars in a gritty new film about the aspirations of home ownership. In “Night Always Comes” (Thursday on Netflix), Kirby plays a woman going to extreme lengths to secure a home for her family. The movie, directed by Benjamin Caron and adapted from Willy Vlautin’s best-selling novel, takes place over a single night.

    AP Film Writer Jake Coyle

    New music to stream from Aug. 11-17

    — Maroon 5 will release their eighth studio album, “Love is Like,” on Friday via Interscope Records. Expect smooth, funky pop music — like the sultry “All Night.” Singer Adam Levine and Co. continue their trend of unexpected and delightful collaborations as well, with songs featuring Lil Wayne, Sexyy Red and Blackpink’s LISA. You read that correctly.

    — Clifford Antone opened Antone’s, one of the most storied music venues in Austin, Texas, with an inaugural performance by the King of Zydeco, Clifton Chenier in 1975. In the decades since, Antone’s has become the stuff of mythology; a performance space that embraces its history and looks towards its future. A new box set out Friday from New West Records seeks to celebrate Antone’s legacy with “Antone’s: 50 Years of the Blues.”

    AP Music Writer Maria Sherman

    New series to stream from Aug. 11-17

    — The multigenerational, wholesome drama “The Chicken Sisters” rolls out its second season on Hallmark. The series stars Schuyler Fisk, Lea Thompson, Wendie Malick and Genevieve Angelson as family members in a small town divided over their rival fried chicken businesses. It’s based on a novel of the same name. The series streams new episodes beginning Monday on Hallmark+.

    — Alicia Silverstone leads the new crime drama called “Irish Blood.” She plays Fiona, a woman who has been led to believe her father abandoned her as a child — and has carried around some heavy emotional baggage ever since. When she learns the truth is more complicated — not to mention dangerous — she heads to Ireland to investigate. The premiere of the six-part show drops Monday on Acorn TV.

    — A new one for the kiddos is the Disney Jr. series “Iron Man and his Awesome Friends,” coming to Disney+. The first 10 episodes drop Tuesday. The show follows besties and fellow geniuses, Tony Stark, Riri Williams and Amadeus Cho, who team up to solve problems.

    Chris Hemsworth continues his quest to live a healthier, more present, and longer life in a second season of “Limitless,” now called “Limitless: Live Better Now.” The three-part docuseries sees Hemsworth learn more about brain power (with help from his friend and recording artist Ed Sheeran), risk and pain. The three episodes stream on Hulu and Disney+ beginning Friday.

    Alicia Rancilio

    New video games to play from Aug. 11-17

    — EA Sports is jumping aboard the artificial intelligence bandwagon with Madden NFL 26, promising “a new AI-powered machine learning system trained by real play calls and game situations over nearly a decade.” The most intriguing additions are QB DNA and Coach DNA — so, for example, if you’re playing the Kansas City Chiefs, you’ll see the kind of moves you’d expect from Patrick Mahomes and Andy Reid. As always, the goal is to get ever closer to real-life football, with more dynamic weather effects, more details from pro stadiums and the return (at last!) of team mascots. The cover model this season is Philadelphia Eagles running back Saquon Barkley, who’ll be ready to start leaping over defenders Thursday on PlayStation 5, Xbox X/S, Switch 2 and PC.

    Lou Kesten

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  • Best Bets: Islamic Arts Festival, Playhouse Creatures and Myths and Leyendas

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    One time change later, and it’s another week, another list of best bets. This week, we’ve got an immersive theater experience, a musical trip back to the Harlem Renaissance, and a celebration of Islamic arts. Keep reading for these and more events that got our pick for the best things to do this coming week.

    Imagine a Major League Baseball player making a political protest on the biggest stage – Game 7 of the World Series – and you’ve got Gabriel Greene and Alex Levy’s Safe at Home, a 90-minute immersive production that the University of Houston’s School of Theatre & Dance will open tonight, Thursday, November 7, at 7 p.m. at Schroeder Park. Director Jack Reuler, who has directed every production of Safe at Home to date, recently told the Houston Press that though the play uses baseball as a metaphor, the immersive 90-minute production is “really a play about us, immigration policy, about Major League Baseball’s relationship to its players from other countries, our fascination with celebrity.” Performances will continue at 7 p.m. through Sunday, November 10. Tickets are available here for $15 to $20.

    Delve into Italian composer Claudio Monteverdi’s eighth book of madrigals, published in 1638, during Ars Lyrica’s latest program, Madrigals of Love and War, at 7:30 p.m. on Friday, November 8, at the Hobby Center for the Performing Arts. Six singers – bass-baritone Enrico Lagasca, countertenor Michael Skarke, sopranos Amia Langer and Erica Schuller, and tenors Steven Brennfleck and Thomas O’Neill – will join eight musicians playing period instruments to perform a selection of Monteverdi’s part-songs, including one of his most famous works Lamento della Ninfa, as well as instrumental pieces from fellow Italians from the early Baroque period like Giovanni Paolo Cima and Bartolomeo Montalbano. Tickets to the in-person concert can be purchased here for $15 to $80, or you can stream the performance from home with a $20 digital ticket.

    Step back in time to the Harlem Renaissance for a jazzy evening inspired by nightspots like the Cotton Club and Savoy Ballroom when the Houston Symphony presents It Don’t Mean a Thing: Swingin’ Uptown Classics with Byron Stripling at Jones Hall on Friday, November 8, 2024 at 7:30 p.m. Conductor, trumpeter, and singer Stripling will lead the Symphony, along with guests Carmen Bradford and Leo Manzari, in a program of jazz standards from artists like Ella Fitzgerald, Duke Ellington, and Cab Calloway. The concert will also be performed on Saturday, November 9, at 7:30 p.m. and Sunday, November 10, at 2 p.m. In-hall tickets to any of the performances can be purchased here for $40 to $115. If you can’t make it, you can access a livestream of Saturday night’s show here for $20. 

    Spend time with five actresses, some of the first to be allowed to act publicly, in Restoration-era London on Friday, November 8, at 8 p.m. when Lionwoman Productions TX opens the Texas premiere of British playwright April De Angelis’s 1993 play Playhouse Creatures at the MATCH. De Angelis has said audiences “will be able to travel back in time watching this play and be in the company of these exciting actresses” and see what it may have been like “to have all that attention and be artists in the public eye” at a time “women were a bit seen and not heard.” Performances will continue through November 23 at 7:30 p.m. Thursdays and November 11, 8 p.m. Fridays and Saturdays, 3 p.m. Sundays, and 4:30 p.m. November 16. Tickets are available here for $17 to $40.

    For the first time, the 11th Annual Islamic Arts Festival, a two-day celebration touted as the largest festival of Islamic arts in the country, will be held at the University of Houston starting this Saturday, November 9, from 10:30 a.m. to 5:30 p.m. In addition to more than 5,000 works of art on display, a variety of activities for children, and live demonstrations of calligraphy, henna, and ebru, this year, festivalgoers can attend a spoken word program, a film festival celebrating Muslim voices in cinema, a performance by the Spain-based Al-Firdaus Ensemble, and a Muslim comedy show. The festival continues on Sunday, November 10, from 10:30 a.m. to 5:30 p.m. Admission to the festival is free, but a $15 ticket (or $45 VIP seating ticket) is needed to attend Saturday’s comedy show and performance by Al-Firdaus Ensemble.

    Americans were formally introduced to now landmark anime series Cowboy Bebop, about a group of bounty hunters traveling through space in the year 2071, in September 2001 when Cartoon Network premiered Adult Swim, their new late-night programming block. The series, which ran for only one 26-episode season in Japan, has been described as a “1:1 mix of sci-fi western and film noir, steeped in American jazz and blues and framed by retro James Bond-meets-Blue Note credits” that “was guaranteed to spawn a reverent cult.” On Saturday, November 9, at 7:30 p.m., Asia Society Texas will celebrate its latest exhibit, “Space City: Art in the Age of Artemis,” with a series of space-themed anime films – the first being Cowboy Bebop: The Movie from 2001. Tickets for the 18-and-up screening can be purchased here for $12 to $15.

    Celebrate the Latin American collection at the Museum of Fine Arts, Houston, and be present for the unveiling of new sculptures by six local Latinx artists on Sunday, November 10, from 1 to 5 p.m. during the Myths and Leyendas Fall Festival in the museum’s Brown Foundation, Inc. Plaza and the Cullen Sculpture Garden. The family-friendly festival will feature art activities, music and dance performances, plenty of food vendors, film screenings from the Houston Latino Film Festival, and a game of lotería. Admission to both the festival and general admission to the museum will be free all day, and you must reserve a ticket here. If you can’t make it, the sculptures – created by artists Loriana Espinel, Diana Gonzalez, Francisco Pereira, Jean Sandoval, Alma Soto, and Ashley Raquel Trejo – will remain on view through November 17.

    Worlds collide over at the Wortham Theater Center on Tuesday, November 12, at 7:30 p.m. when Performing Arts Houston presents Vitamin String Quartet: The Music of Taylor Swift, Bridgerton, and Beyond. The ensemble has been releasing musical mashups since 1999 under CMH Label Group and was recently featured during episodes of Bridgerton. Leo Flynn, the co-creative director and brand manager at CMH Label Group, has said the hit show “on a massive scale has done in the TV space” what the quartet aims to do: “Bringing worlds together to show the commonalities, to show how much energy there is when we connect to things and each other.” There are a handful of seats left to see the concert – which promises music from artists like Billie Eilish and BTS, too – and you can purchase them here for $29 to $79.

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    Natalie de la Garza

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  • There’s a ton of Hollywood stars on and off Broadway these days. Here’s a game you can play

    There’s a ton of Hollywood stars on and off Broadway these days. Here’s a game you can play

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    NEW YORK (AP) — There are so many Hollywood stars on New York theater stages or on the way that you might want to level up your stargazing game. Why not play some bingo?

    Sure, Robert Downey Jr., Daniel Dae Kim, Jim Parsons, Mia Farrow, and Katie Holmes are currently in New York, and George Clooney, Denzel Washington, Nick Jonas and Jake Gyllenhaal are on deck for spring.

    But if you really want to impress, why not connect the stars, like playing bingo with the stars of “Frasier”? Catch Bebe Neuwirth (who played chilly Lilith) now in “Cabaret” on Broadway; Dan Butler (who played Bulldog on the TV show) in the off-Broadway play “Another Shot;” and then in a few months, see David Hyde Pierce (who played Niles) in “The Pirates of Penzance.”

    If a little TV stardust is enough to convince theatergoers to see Butler in the witty and deep recovery play “Another Shot” at The Romulus Linney Courtyard Theatre, the actor says he’s game.

    “I love that it would bring people there, and you would just hope that they get bitten by that thing theater can do that no other medium can do,” he says. “Hopefully, it brings you in the doors again.”

    Laura Stanczyk, a veteran casting director and producer who has cast dozens of Broadway, off-Broadway and international plays and musicals, knows many shows secure a bankable star to try to stand out.

    “When you have actors like Robert Downey Jr. who are finally showing up and participating in the New York theater scene, it becomes even more important to have someone who has some kind of notoriety,” she says.

    She is producing the play that Butler is starring in by Spike Manton and Harry Teinowitz, in which a deadpan Butler plays a radio DJ in recovery. “It’s sort of like Bulldog goes to rehab,” jokes the actor.

    A wave of stars

    Movie and TV celebrities have been part of Broadway’s DNA for decades — one recent big wave was in 2010 with the arrival of Robin Williams, Chris Rock, Kiefer Sutherland, Daniel Radcliffe, Pee-wee Herman, Vanessa Redgrave, Ben Stiller and Edie Falco — but their presence this season is particularly striking.

    Kit Connor and Rachel Zegler are starring in “Romeo & Juliet,” Nicole Scherzinger has “Sunset Boulevard,” Peter Gallagher and Julianna Margulies are in “Left on Tenth” and Sean Astin is playing Santa in “Elf the Musical.”

    Stanczyk says it’s not too surprising to see so much star wattage since many of the TV and movie stars have their roots in theater. Margulies studied stage, and that’s also where Connor and Zegler got their starts. Scherzinger studied musical theater at Wright State University.

    “People forget that these great actors got a lot of their start in theater,” she says. “I do think some directors gravitate towards that because they know those folks — it’s in their bones and there’s a common language.”

    The reason “Frasier” Bingo is possible is because so many associated with the show are theater veterans, starting with James Burrows, the director who helped craft the “Cheers” spinoff. Burrows started in the theater and is the son of the legendary playwright and director Abe Burrows, behind “Guys and Dolls” and “How to Succeed in Business Without Really Trying.”

    Butler — who was recently cheered on by Pierce during a visit to “Another Shot” — said “Frasier” often had a stage feel. “It sort of felt like doing a short play in front of a live audience every time we filmed,” he said.

    Other TV shows — like “Law & Order,” “The Good Wife,” “The Gilded Age,” ”Crazy Ex-Girlfriend” and “Only Murders in the Building” — share that stage vibe since they also have leaned into casting from the theater.

    So hot is New York that the stars are even coming off-Broadway, like Adam Driver in “Hold On to Me Darling,” Marisa Tomei in “Babe,” Kenneth Branagh in “King Lear,” T.R. Knight in “The Merchant of Venice” and Christian Slater and Calista Flockhart in “Curse of the Starving Class.”

    The influx of Hollywood types aren’t squeezing out Broadway stars: Audra McDonald, Sutton Foster, Jonathan Groff, Patti LuPone, Megan Hilty, Jennifer Simard, Adrienne Warren and Darren Criss have all booked parts.

    The lure of the stage

    Louis McCartney, a rising screen star who will be bringing the play “Stranger Things: The First Shadow” from London to Broadway in spring 2025, didn’t train as a stage animal, but he’s mesmerized.

    “It’s sort of this back and forth where you give yourself up,” he says. “You give your soul every single night. And I think that’s beautiful.”

    If “Frasier” Bingo isn’t your speed, there’s always “Succession” Bingo: Jeremy Strong was on Broadway in a revival of “An Enemy of the People,” Kieran Culkin will be in a revival of “Glengarry Glen Ross” and Sarah Snook gets the stage all to herself as she plays all 26 parts in an adaptation of “The Picture of Dorian Gray” this spring. Or play a long game: With Clooney and Margulies, you can start on “ER” Bingo.

    Stanczyk thinks Hollywood interest in the stage may be driven by the stars attempting to push themselves professionally and to capture that unique buzz that life theater can give.

    “Every night you’re in the theater that thing that happens hasn’t happened before. It’s a unique exchange of energy,” she says. “There’s nothing else like it in the world.”

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  • Theatre Under the Stars Delivers a Killer Little Shop of Horrors

    Theatre Under the Stars Delivers a Killer Little Shop of Horrors

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    Man-eating plants just in time for Halloween?

    Yes, please.

    But not just any man-eating plant, we’re talking about the infamous Audrey II of Alan Menken and Howard Ashman’s Little Shop of Horrors, now taking root at Theatre Under the Stars in a brand-new production of the oft-beloved musical.

    The show centers around a little florist shop on Skid Row with a big problem – no customers. At the end of another sale-less day, the owner, Mr. Mushnik, tells his two employees, Seymour and Audrey, not to bother coming in the next day; he’s shutting it down. In an effort to change his mind, Audrey tells Mr. Mushnik about a “strange and interesting” plant Seymour found during a total eclipse of the sun, which she believes might attract business. The plant is like nothing they’ve ever seen before, and though he thinks it’s some kind of flytrap, Seymour can’t find anything like it in his books. Regardless, the plan works. The plant, which Seymour names Audrey II, immediately draws in customers. Business booms and Seymour becomes something of a celebrity for discovering a new breed of plant life.

    But there’s a new problem. Audrey II tends to grow and then wilt, and nothing Seymour does seems to help. It’s not until Seymour pricks his finger on a rose’s thorn that he gets a clue as to what the plant wants. It turns out Audrey II wants blood. “It must be blood and it must be fresh,” says Audrey II, which has inexplicably started talking. Now, with the fate of the shop, his crush on Audrey I, and his own future on the line, Seymour has to decide just how far he’ll go to feed the plant’s ever-increasing hunger.

    Let it never be forgotten that the grotesquely absurd plot of Little Shop of Horrors isn’t just musical theater homage to the sci-fi B-movies of the mid-20th century, it’s literally based on a Roger Corman film from 1960 – a film that’s origin basically boils down to Corman and writer Charles B. Griffith drunkenly spit-balling ideas until Griffith was like, “How about a man-eating plant?”

    click to enlarge

    Kiara Caridad as Chiffon, Sarah Sachi as Ronnette, and Simone Gundy as Crystal in Little Shop of Horrors.

    Photo by Melissa Taylor

    Yes, how about a man-eating plant? Menken and Ashman eventually got their talented hands on the material, with Little Shop of Horrors opening off-off-Broadway back in 1982. Since then, Audrey II and co. have made their way to Broadway proper, the West End, and the big screen, as well as multiple revivals, tours, and local productions. There was also a short-lived Fox Kids cartoon that probably wouldn’t have seen the light of day without the success of the musical and its subsequent film adaptation.

    It’s not hard to see why the musical has had so much success over the years, but if you want a prime example, head over to the Hobby Center ASAP because you won’t find a more perfect production of Little Shop of Horrors than what’s over at Theatre Under the Stars right now. Director Melissa Rain Anderson’s production leans right into the campy absurdity and humor, and it moves at lightning speed. Seriously, it’s blink and you’ll be wishing you could turn the clock back two hours to watch it again.

    Alan Menken’s score, here under the skillful direction of Dr. John Cornelius, is rooted in 1960s pop, overwhelmingly upbeat and catchy with plenty of numbers you might find yourself humming on the way home. Kiara Caridad, Simone Gundy, and Sarah Sachi provide the production’s vocal through line as a Greek chorus meets Supremes-style girl group. The vocally gifted trio narrate, provide a bit of commentary, and egg on the characters just a bit through their lush harmonies and soulful deliveries in songs across the production. They set the tone of the show during the “Prologue,” carry the show’s great opener “Downtown (Skid Row)” and add depth to “Dentist.”

    Playing against the music’s bubbly guise is Howard Ashman’s darker lyrics, which are mediated through the performances of the cast – and a knockout cast it is.

    Rob Riordan is flawless as a nerdy loser or, as Mr. Mushnik calls Seymour, a “twerp of a klutz.” He is sweetly downtrodden and oh-so-easy to root for, as is Mary Kate Moore’s low-self-esteem-having Audrey. Moore is earnest and vulnerable, and delivers a memorably wistful rendition of “Somewhere That’s Green.”

    On the other end of the spectrum, Dan De Luca brings a superbly unhinged energy to show as semi-sadist Dr. Orin Scrivello D.D.S., complete with a drawn-out, exhaled delivery of all his lines and an insane, nitrous oxide-induced insane.

    click to enlarge

    Mark Ivy as Mr. Mushnik and Rob Riordan as Seymour in Little Shop of Horrors.

    Photo by Melissa Taylor

    Mark Ivy’s Mushnik is over-the-top and scheming, which all culminates in the terribly fun “Mushnik and Son.” It, of course, includes the “Mushnik and Son” tango, brilliantly imagined by choreographer Monica Josette and executed to perfection by Ivy and Riordan. Josette nailed every bit of movement in the musical, from Caridad, Gundy, and Sachi’s synched up moves to a conga line here, and a shimmy there.

    As it is meant to be, Audrey II is a scene-stealer. From little bud that adorably tries to bite and seems to bop along to the music to growing menace that slowly overruns the florist shop, Audrey II (precisely manipulated by Turell Robins) steals focus from the get – and it gets even better when the plant talks. Voiced by Dion Simmons Grier, the plant is whiny and demanding, disturbingly sensual, and, in short, the worst little devil to have on your shoulder.

    The action all plays out on a rotating set by Paul Wonsek (with additional designs by Ryan McGettigan). It sits against a backdrop of tenement buildings with the perfect amount of urban decay – broken out and boarded up windows, ratty posters, and folks sleeping on the streets. Slotting perfectly into Wonsek’s world are Colleen Grady’s clear-eyed costumes, from Seymour’s little sweater vest to Orin’s leather chest harness. And it’s all lit by John Spencer’s always attention-grabbing, sometimes psychedelic designs.

    One thing that helps any show is the audience, and I have to say that last night’s audience was along for every second of the ride. They were quick to laugh, quick to applaud, and clearly there to have a good time. And that’s exactly what Theatre Under the Stars gave us – a great time.

    Performances will continue at 7:30 p.m. Tuesdays through Thursdays and Sunday, 8 p.m. Fridays and Saturdays, and 2 p.m. Saturdays and Sundays through November 3 at the Hobby Center for the Performing Arts, 800 Bagby. For more information, call 713-558-8801 or visit tuts.com. $34.50-$138.50.

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    Natalie de la Garza

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  • Classical Theatre Company Sinks Its Teeth Into a Thrilling Dracula

    Classical Theatre Company Sinks Its Teeth Into a Thrilling Dracula

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    “There are far worse things awaiting man than death…”

    Well, unless you’re Dracula. The world’s most famous vampire is more alive dead (or undead) and has been for more than a hundred years. He’s taking yet another bow, this time over at Classical Theatre Company, where they’re offering up Chris Iannacone’s adaptation of Bram Stoker’s Dracula just in time for Halloween.

    The year is 1897, and English solicitor Jonathan Harker embarks on a long journey, traveling quite the distance to Transylvania to meet with a mysterious man named Count Dracula. Harker has recently procured Dracula an estate in England, but the business reason for the trip quickly falls to the wayside as Harker starts to notice strange happenings at Dracula’s castle, as well as Dracula’s request that he stay for one month.

    Back home in England, Harker’s wife Mina anxiously awaits his return, in the meantime visiting with her dear friend Lucy, who’s about to wed a Mr. Arthur Holmwood. As time passes without word from her husband, Mina becomes more unsettled until one night, a mysterious ship crashes ashore during a violent storm. Not long after, Lucy begins to suffer from blood loss – cause unknown. They send for Dr. Seward, who calls on Professor Van Helsing for help deducing the cause of Lucy’s unexplained anemia. Van Helsing suspects there’s something more to Lucy’s illness—and the two puncture wounds on her neck—than meets the eye.

    Bram Stoker released his novel Dracula in 1897, and really, the gist of the story you know even if you never attempted slogging your way through Stoker’s epistolary snooze fest; its core has been filtered through the years in countless adaptations and parodies across multiple mediums with varying levels of fidelity to the source material.

    Though, to be fair, more so than Stoker’s novel, it’s Tod Browning’s 1931 Universal Pictures film starring Bela Lugosi that people know best – which in turn was based more on Hamilton Deane’s 1924 stage adaptation and John Balderston’s 1927 American revision. The point is, pretty much since its inception, Stoker’s novel has existed to be adapted into better versions of itself.

    click to enlarge

    Jonathan Robinson as Renfield in Classical Theatre Company’s Dracula.

    Photo by Pin Lim

    Iannacone’s broad-stroke swing at Stoker’s novel is decently paced and well-plotted, but the production is noticeably devoid of much substance. The focus is on the horror of the story, yes, but with the themes that underpin that horror – repressed sexuality and desire, anxiety around gender relations and otherness, etc. – tamped down, if not almost entirely stripped from the production, the show is little more than empty calories.

    By not leaning into the more common themes that usually come up in this story, director Blake Weir certainly created a challenge for himself and, somehow, it’s a challenge he overcame in terms of still mounting a thoroughly watchable show. It’s genuinely scary at times, funny in moments, and unsettling throughout – i.e., just what you want to see around Halloween. And despite a script that does a lot more telling than showing, the action scenes here are top-notch.

    One positive change to the story that deserves a mention is that Iannacone has added a much-appreciated agency into the character of Mina “I will not be the cause of our failure” Harker. Other hand, with only two women in the piece, it exacerbates the usual horror pattern that still rears its typical head here – the superficial one who discourteously calls a place “backwater country” is the one who is punished in the story while the loyal, responsible other one who thoughtfully considers the beauty of said “backwater country” is the one who survives. It’s more subtle than what’s in Stoker’s book (and in many works of horror in general), but it’s disappointing that it’s still there.

    Going back to the novel, Stoker didn’t exactly go all in on characterization, leaving Iannacone with a flat character problem that goes unsolved in his script. The actors are left to give us reason to care about these people, a chore they approach valiantly and overall successfully.

    There’s Kyle Clark as weary traveler and nervous talker Jonathan Harker. There’s the tight-laced skepticism of David Akinwande’s Seward. Jonathan Robinson, who brings a shuddering insanity and a hauntingly maniacal laugh to Renfield. Eva Olivia Catanzariti’s sympathetic Lucy and Patrick Fretwell’s steadfast Holmwood. And though their appearances are brief, the Weird Sisters, played with haunted house vibrance by Luke Fedell, Maggie Maxwell, and Jasmine Christyne, are the theatrical equivalent to statement pieces, uniquely designed by costume designer Leah Smith.

    click to enlarge

    Maggie Maxwell as a Weird Sister, Kyle Clark as Harker, and Jasmine Christyne as a Weird Sister in Classical Theatre Company’s Dracula.

    Photo by Pin Lim

    Elissa Cuellar’s Mina shines brightest in those moments where vampirism takes hold and flashes of an almost sinister nature appear. Greg Dean’s Van Helsing reads as knowledgeable and well-meaning if a bit scattered in appearance and mannerism, something unimpeded and maybe unintentionally aided by noticeable line flubs.

    Finally, there’s the man himself – Dracula, played by Spencer Plachy. In Plachy’s hands, Dracula is menacing. He’s not at all dandified or sexy like we often see; instead, Plachy’s Dracula comes off as a patronizing predator. (This choice right here, by the way, is the closest the production comes to making substantive meaning.) And not unlike the shark in Jaws, Plachy’s Dracula is used sparingly, which makes each time he appears, all hunched shoulders and harsh breath like he’s barely restraining himself, all the more enjoyable.

    Scenic Designer Afsaneh Aayani’s frightfully versatile set, with an assist from Properties Designer Charly Topper, serves the entire production with ease. The use of the windows as screens for essential projections by Weir, Edgar Guajardo, and Brenda Palestina, as well as photobooth-like framing for the characters, is particularly clever and reflective of the production’s great use of space. They also help with smooth transitions, with scenes blending into each other.

    Aayani’s set is lit by Guajardo’s hope-you’re-not-afraid-of-the-dark lighting schemes. Really, I can’t remember a show so happy to live in the shadows, which it does deftly. The playground is only better in the moments when smoky red light fills the theater and washes across the stage. And Jon Harvey’s eerie soundscape, from the buzzing of flies and barking of dogs to the non-diegetic, synth-y rhythms and jump-worthy musical cues were absolutely killer (no pun intended).

    The final verdict: If you’re looking for a little chill down your spine, Classical Theatre Company’s Dracula is just the lean, alluringly atmospheric production for you.

    Performances will continue at 7:30 p.m. Thursdays through Saturdays and Monday, October 21, and 2:30 p.m. Saturdays and Sundays through October 26 at The DeLUXE Theater, 3303 Lyons. For more information, call 713-963-9665 or visit classicaltheatre.org. $10-$30.

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    Natalie de la Garza

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  • How Hell’s Kitchen Stars Maleah Joi Moon and Kecia Lewis Found Friendship Offstage

    How Hell’s Kitchen Stars Maleah Joi Moon and Kecia Lewis Found Friendship Offstage

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    If you were in New York City at any point during the first weeks of September, chances are you were at Usher’s Past Present Future Tour, or at the very least, you knew someone who was in the sweaty audience at Brooklyn’s Barclays Center. Tony winner Maleah Joi Moon was no exception. “A time was had,” Moon says over Zoom from her NYC apartment, recounting the night she just spent dancing and singing in a suite with her Hell’s Kitchen castmates. Fellow Tony winner Kecia Lewis organized the whole thing, but couldn’t go because she was on vacation. “I was just texting with AK,” says Lewis. “She was like, ‘Did everybody have a good time?’”

    For the uninitiated, “AK” is Alicia Keys, the brains behind the 13-time-nominated Broadway show Hell’s Kitchen, which uses the Grammy Award winner’s music to tell the coming-of-age story of Ali, played by Moon. Lewis plays Miss Liza Jane, Ali’s neighbor turned surrogate mother, who helps Ali realize her passion for music and piano, and ultimately discover herself. The semi-autobiographical musical is set in the ’90s in, of course, the Hell’s Kitchen neighborhood of Manhattan. Baggy jeans, crop tops, and jerseys abound.

    Both Moon, 22, and Lewis, 59, won the Tony award this year for best lead actress in a musical and best featured actress in a musical, respectively. Hell’s Kitchen marks Moon’s Broadway debut, while Lewis has been in the business for four decades. For both of them, it was their first ever Tony nomination—and win.

    “It’s crazy now that I’m talking about it, the juxtaposition between me and Kecia in that moment,” Moon reflects. “Kecia is this vet, legend, staple of the community—especially in the Black Broadway community. And then me being an up-and-coming artist, a Black woman entering this community and being welcomed.”

    The relationship that Moon and Lewis portray in Hell’s Kitchen has led to a closeness offstage. “With this particular show, we are blessed to have the vast majority of the cast making their Broadway debuts,” says Lewis. “I like to be able to see the magic that we [create] through fresher eyes, seeing that wonder and awe, because you can get jaded when you’ve been doing this for four decades.” For this reason, Lewis has become the show’s den mother. “I enjoy mentoring,” she says. “And thank God I do because if I didn’t, this show would be a torture,” Lewis says with a laugh.

    Here, Moon and Lewis talk with Vanity Fair about their dynamic on- and offstage and the only time it’s okay to sleep in your makeup.

    Vanity Fair: To kick it off, in what ways do you both relate to your Hell’s Kitchen?

    Maleah Joi Moon: Mama, do you want to kick it off?

    Sorry, did you just call Kecia ‘Mama’?

    Moon: I did. For everybody down at the Kitchen, she’s the matriarch of our cast. We all look to her when we need grounding, peace, prayer, positivity—all the things.

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    Caitlin Brody

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  • Free Will Astrology (Oct. 2-8)

    Free Will Astrology (Oct. 2-8)

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    ARIES (March 21-April 19): During some Wiccan rituals, participants are asked, “What binds you? And what will you do to free yourself from what binds you?” I recommend this exercise to you right now, Aries. Here’s a third question: Will you replace your shackles with a weaving that inspires and empowers you? In other words, will you shed what binds you and, in its stead, create a bond that links you to an influence you treasure?

    TAURUS (April 20-May 20): If I had to name the zodiac sign that other signs are most likely to underestimate, I would say Taurus. Why? Well, many of you Bulls are rather modest and humble. You prefer to let your practical actions speak louder than fine words. Your well-grounded strength is diligent and poised, not flashy. People may misread your resilience and dependability as signs of passivity. But here’s good news, dear Taurus: In the coming weeks, you will be less likely to be undervalued and overlooked. Even those who have been ignorant of your appeal may tune in to the fullness of your tender power and earthy wisdom.

    GEMINI (May 21-June 20): In the coming days, I invite you to work on writing an essay called “People and Things I Never Knew I Liked and Loved Until Now.” To get the project started, visit places that have previously been off your radar. Wander around in uncharted territory, inviting life to surprise you. Call on every trick you know to stimulate your imagination and break out of habitual ruts of thinking. A key practice will be to experiment and improvise as you open your heart and your eyes wide. Here’s my prophecy: In the frontiers, you will encounter unruly delights that inspire you to grow wiser.

    CANCER (June 21-July 22): Now is an excellent time to search for new teachers, mentors, and role models. Please cooperate with life’s intention to connect you with people and animals who can inspire your journey for the months and years ahead. A good way to prepare yourself for this onslaught of grace is to contemplate the history of your educational experiences. Who are the heroes, helpers, and villains who have taught you crucial lessons? Another strategy to get ready is to think about what’s most vital for you to learn right now. What are the gaps in your understanding that need to be filled?

    LEO (July 23-Aug. 22): The English language has more synonyms than any other language. That’s in part because it’s like a magpie. It steals words from many tongues, including German, French, Old Norse, Latin, and Greek, as well as from Algonquin, Chinese, Hindi, Basque, and Tagalog. Japanese may be the next most magpie-like language. It borrows from English, Chinese, Portuguese, Dutch, French, and German. In accordance with astrological possibilities, I invite you to adopt the spirit of the English and Japanese languages in the coming weeks. Freely borrow and steal influences. Be a collector of sundry inspirations, a scavenger of fun ideas, a gatherer of rich cultural diversity.

    VIRGO (Aug. 23-Sept. 22): Here are my bold decrees: You are entitled to extra bonuses and special privileges in the coming weeks. The biggest piece of every cake and pie should go to you, as should the freshest wonders, the most provocative revelations, and the wildest breakthroughs. I invite you to give and take extravagant amounts of everything you regard as sweet, rich, and nourishing. I hope you will begin cultivating a skill you are destined to master. I trust you will receive clear and direct answers to at least two nagging questions.

    LIBRA (Sept. 23-Oct. 22): On those infrequent occasions when I buy a new gadget, I never read the instructions. I drop the booklet in the recycling bin immediately, despite the fact that I may not know all the fine points of using my new vacuum cleaner, air purifier, or hairdryer. Research reveals that I am typical. Ninety-two percent of all instructions get thrown away. I don’t recommend this approach to you in the coming weeks, however, whether you’re dealing with gadgets or more intangible things. You really should call on guidance to help you navigate your way through introductory phases and new experiences.

    SCORPIO (Oct. 23-Nov. 21): I knew a Scorpio performance artist who did a splashy public show about private matters. She stationed herself on the rooftop of an apartment building and for 12 hours loudly described everything she felt guilty about. (She was an ex-Catholic who had been raised to regard some normal behavior as sinful.) If you, dear Scorpio, have ever felt an urge to engage in a purge of remorse, now would be an excellent time. I suggest an alternate approach, though. Spend a half hour writing your regrets on paper, then burn the paper in the kitchen sink as you chant something like the following: “With love and compassion for myself, I apologize for my shortcomings and frailties. I declare myself free of shame and guilt. I forgive myself forever.”

    SAGITTARIUS (Nov. 22-Dec. 21): Be HEARTY, POTENT, and DYNAMIC, Sagittarius. Don’t worry about decorum and propriety. Be in quest of lively twists that excite the adventurer in you. Avoid anyone who seems to like you best when you are anxious or tightly controlled. Don’t proceed as if you have nothing to lose; instead, act as if you have everything to win. Finally, my dear, ask life to bring you a steady stream of marvels that make you overjoyed to be alive. If you’re feeling extra bold (and I believe you will), request the delivery of a miracle or two.

    CAPRICORN (Dec. 22-Jan. 19): Nineteenth-century Capricorn author Anne Brontë wrote The Tenant of Wildfell Hall, which many critics regard as the first feminist novel. It challenged contemporary social customs. The main character, Helen, leaves her husband because he’s a bad influence on their son. She goes into hiding, becoming a single mother who supports her family by creating art. Unfortunately, after the author’s death at a young age, her older sister Charlotte suppressed the publication of The Tenant of Wildfell Hall. It’s not well-known today. I bring this to your attention, Capricorn, so as to inspire you to action. I believe the coming months will be a favorable time to get the attention and recognition you’ve been denied but thoroughly deserve. Start now! Liberate, express, and disseminate whatever has been suppressed.

    AQUARIUS (Jan. 20-Feb. 18): What is the most important question you want to find an answer for during the next year? The coming weeks will be an excellent time to formulate that inquiry clearly and concisely. I urge you to write it out in longhand and place it in a prominent place in your home. Ponder it lightly and lovingly for two minutes every morning upon awakening and each night before sleep. (Key descriptors: “lightly and lovingly.”) As new insights float into your awareness, jot them down. One further suggestion: Create or acquire a symbolic representation of the primal question.

    PISCES (Feb. 19-March 20): Scientific research suggests that some foods are more addictive than cocaine. They include pizza, chocolate, potato chips, and ice cream. The good news is that they are not as problematic for long-term health as cocaine. The bad news is that they are not exactly healthy. (The sugar in chocolate neutralizes its modest health benefits.) With these facts in mind, Pisces, I invite you to reorder your priorities about addictive things. Now is a favorable time to figure out what substances and activities might be tonifying, invigorating addictions — and then retrain yourself to focus your addictive energy on them. Maybe you could encourage an addiction to juices that blend spinach, cucumber, kale, celery, and apple. Perhaps you could cultivate an addiction to doing a pleasurable form of exercise or reading books that thrill your imagination.

    Homework: Interested in my inside thoughts about astrology? Read my book Astrology Is Real. Free excerpts: tinyurl.com/BraveBliss

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    Rob Brezsny

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  • The Hispanic/Latino/Latina/Latinx/Latine Vote a Sharp Satire at Stages

    The Hispanic/Latino/Latina/Latinx/Latine Vote a Sharp Satire at Stages

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    The terminology used to describe people like me has, let’s say, evolved over the years.

    Specifically, for me, from Chicano/a and Mexican-American to Hispanic to Latino/a, and then Latinx to Latine.

    They’re terms both given to you and a matter of personal preference. My own mother, who first heard the term Latinx from me a couple of years ago and spent the rest of the day annoyed, has been consistent my whole life.

    “We American,” she says. “Mexican-American.”

    But this is and has been happening for anyone who is, or whose ancestors were, from Latin America or a Spanish-speaking land or culture for years. And the through line for all of it is that there are folks out there who really want to capture the diversity of all these peoples in one word. Sounds like a fool’s errand, but that’s the world we’re entering for Bernardo Cubría’s The Hispanic/Latino/Latina/Latinx/Latine Vote, which is currently in the midst of its rolling world premiere run at Stages.

    To step into the Sterling Stage space for The Hispanic/Latino/Latina/Latinx/Latine Vote is to walk into a war room (sleekly designed with business-like sterility by Liz Freese). Tweets doomscroll on one screen, an invisible remote flips between cable news channels on another, and crawls wrap around the room sharing stats about things like the number of Latino voters aged 18 to 29 more interested in the presidential race after Kamala Harris replaced Joe Biden or, if the election were held today, how many Hispanic registered voters would support Republicans. We’re also told that a single IVF (in vitro fertilization) cycle in the United States costs between $10,000 and $15,000, depending on various factors, a fact that soon shows its importance as we meet our protagonist, Dr. Paola Aguilar.

    Paola is a 39-year-old academic who wants to be a mom, is on her third try with IVF, and is very in debt. We find Paola in a waiting room for a job that, well, she’s not entirely sure what it is. But she got the lead from her dean, and she knows it has something to do with her field: Latinx studies. It turns out she’s been sought out by the political party. With just over two months until the election, they need help solving a problem, addressing an issue, a national issue, an issue of importance. They want Paola’s help with the Latino vote – and they’re willing to pay big bucks for it.

    click to enlarge

    Stages is showing Bernardo Cubría’s The Hispanic/Latino/Latina/Latinx/Latine Vote.

    Photo by Melissa Taylor Photography

    Despite her clear reservations – after all, how can she speak for an entire community – and her worry about being the “token” Latinx person in the room, “Are you the person to help us get the votes?” is a question she just can’t say no to. They’re offering money in the range of a “fuckton” and she’s got sperm to buy. But it’s not long before she starts encountering the problems in accepting a job to, as she says, “speak on behalf of every Latino so I can put a baby in my pinche uterus.”

    If it’s not obvious, Cubría’s script is funny, topical, and uncannily prescient. For a play set “here and now” and was presumably not written last week, it couldn’t be any more here and now. Cubría sharply takes aim at the idea that the titular Hispanic/Latino/Latina/Latinx/Latine vote is a monolithic, one that can (and should) have a convenient, catch-all label neatly assigned and accepted, and builds a Horatian satire around it. Cubría is clever, utilizing things like the World Cup or a Russian spy under deep cover as useful metaphors, and playful. Who would have expected a primer on IVF with a rubber chicken and cascarones?

    The script, written as a one-act with no intermission, starts off moving at a rapid-fire pace, and director César Jáquez’s firm hand keeps the production running smoothly, navigating the rocky transitions between the show’s comedic beats and its more emotional notes with care. And certain set pieces – like the frantic, nightmarish run up to election day, buoyed by Ash Parra’s dramatic lighting choices and Ricjuane Jenkins’s percussive sound designs – were masterfully executed.  

    Interestingly, the play encourages audience engagement, and last night’s audience certainly had jokes. That said, the production, which neared two hours, visibly lost steam as it neared the home stretch. Even the audience, still clearly invested in Paola’s journey, seemed less inclined to play along.

    Despite the play’s eye-catchingly long title, Cubría’s script is anchored in Paola’s personal journey and is strongest in moments when it revels in her humanity, played perfectly by Jamie Rezanour.

    click to enlarge

    Bernardo Cubría’s The Hispanic/Latino/Latina/Latinx/Latine Vote is making its rolling world premiere at Stages.

    Photo by Melissa Taylor Photography

    Paola, smartly dressed by costume designer Clair Hummel, quickly becomes the audience’s best friend for the evening and that’s because Rezanour exudes warmth and honesty. She’s someone you want to get behind, whether she’s rightly exasperated, admitting her fears, or finally being asked to acknowledge her own blind spots. In short strokes, Rezanour is able to build a compelling rapport with each of the play’s characters, but her highly charged moments opposite Philip Hays, who plays Kaj Lutken, aka the “white guy in the business suit,” are the most exciting.

    In lesser hands, Kaj could (and probably would) be one-note, but luckily that’s not the case here. Cubría also took care to give each member of the political party’s team their moment to shine: Kory LaQuess Pullam’s kindly Bernard, Jordan Umphries’s bouncy Rebecca, and Victoria Villarreal’s wound tightly Nicola. Every Hispanic/Latino/Latina/Latinx/Latine character (i.e. every other character) is played by Jose Eduardo Moreno, who exhaustingly runs through a range of characters I’m not going to spoil here, though examples include a grandma’s boy who nearly charmed the pants off the audience and a doctor with a bedside manner you’d probably never want to see.

    The Hispanic/Latino/Latina/Latinx/Latine Vote may be politically-minded, and politically titled, but it’s not preachy. And I can confirm: It’s a fun night at the theater, even if you’re someone who’s already election sick, and it might even be a hopeful little balm for your ills.

    Performances of The Hispanic/Latino/Latina/Latinx/Latine Vote will continue at 7 p.m. Wednesday, Thursday and Fridays, 2 and 7 p.m. Saturdays, and 2 p.m. Sundays through October 6 at Stages, 800 Rosine. For more information, call 713-537-0123 or visit stageshouston.com. $49-$99.

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    Natalie de la Garza

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  • A Delicious Farewell to a Season of Fun and Adventure!

    A Delicious Farewell to a Season of Fun and Adventure!

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    Holly, MI – September 27th – September 29th, 2024 – Calling all dessert lovers and festival enthusiasts! The Michigan Renaissance Festival is gearing up for its final weekend, and it promises to be a “Sweet Ending” to an unforgettable season. This is your last chance to step into the enchanting Valley and experience the magic, tastes, and thrills of the Renaissance. The grand finale weekend will take place this coming weekend.

    A Sweet Treat for Dessert Lovers

    Prepare your taste buds for a delightful journey through the Valley as you savor some of the finest local sweets. From decadent desserts to irresistible treats, the final weekend promises to satisfy every craving. Complimentary samples will be available throughout the festival grounds, so don’t miss out on the opportunity to indulge in a wide range of delectable flavors!

    Royal Events and Fun for All

    In addition to sweet treats, the final weekend is packed with royal events and activities for everyone, including:

    • Feast of Fantasy: Experience an extravagant meal of five courses fit for royalty!
    • Cocktail Crawl: Sip your way through the festival grounds with a collection of delicious cocktails.
    • Birds of Prey Show: Be amazed by majestic raptors in a thrilling display of flight and skill.
    • Wooing Contest: Show off your best romantic charms and win the hearts of the crowd!
    • Couples Costume Contest: Dress in your Renaissance best and compete for the title of best-dressed duo.
    • Passing the Apple Contest: Test your teamwork and coordination in this classic festival challenge!

    Nonstop Entertainment and Unique Artisan Gifts

    The Michigan Renaissance Festival is home to 17 stages of nonstop entertainment, all included in the price of general admission. From jousting knights to comedy acts and musical performances, there’s something for every member of the family to enjoy. Plus, explore over 150 artisan craft vendors, where you’ll find one-of-a-kind gifts, handmade treasures, and keepsakes to remember your festival experience.

    Don’t Miss Out on the Final Weekend!

    This is the last chance of the season to enjoy all the fun, excitement, and flavor the Michigan Renaissance Festival has to offer. Whether you’re there for the sweet treats, the royal events, or the endless entertainment, it’s a weekend not to be missed.

    Tickets and Information

    When: September 27th through September 29th, 2024

    Where: 12600 Dixie Highway, Holly, MI 48442

    Cost: Adult $26.95, Children’s (5-12) $16.95, Children (4 and under) FREE! Purchase Parking Passes online or when you arrive. Discounted tickets available at Kroger’s, Menards, Walgreen and online at www.michrenfest.com

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    Metro Times Promotions

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  • On stage in October: ‘Frankenstein,’ ‘Jersey Boys’ and ‘tick, tick … Boom!’

    On stage in October: ‘Frankenstein,’ ‘Jersey Boys’ and ‘tick, tick … Boom!’

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    Let us be the first to tell you: October is a packed month at Philly theaters. 

    Between a number of companies kicking off their 2024-2025 seasons and special Halloween productions, there are tons of shows taking to the stages across the region. In fact, there are so many list belore would become unwieldy if we included them all, but there are a few more deserving of quick mentions: the Arden’s one-week extension of “POTUS,” the Wilma’s production of “Dog Man: The Musical,” based on Dav Pilkey’s beloved series and the Esparanza Arts Center’s original trilingual show, “Nichos.” 

    Here are 11 more shows at theaters in and around Philadelphia this October:


    The Book of Mormon

    Oct. 1-6 | The Academy of Music | 240 S. Broad St.

    If you can’t get enough of the “The Secret Lives of Mormon Wives” TV series, “The Book of Mormon” might quench your thirst … or cleanse your palette. The musical comedy from the creators of “South Park” follows two missionaries from the Church of Jesus Christ of Latter-day Saints as they travel to Uganda and attempt to convince unenthusiastic residents to join the faith. Tickets start at $29.00. 


    This Is The Week That Is

    Oct. 3-Nov. 3 | Plays and Players Theater | 1714 Delancey St.

    The annual variety show from 1812 Productions returns this month with musical parodies, improv and sketch comedy. This year, the show is themed around the presidential election, and political comedy fans might recognize Producing Artistic Director Jennifer Childs, who’s also directing “POTUS” at the Arden. Tickets start at $38.00. 


    La Egoísta

    Oct. 4-20 | Philadelphia Theatre Co. | 480 S. Broad St. 

    Premiering for the first time in the city, La Egoísta tells the story of Josefina, a Philadelphia stand-up comedian whose career is taking off right after the death of her mother and the sudden illness of her sister. The show was written by Philly’s Erlina Ortiz, the 2022 winner of the National Latine Playwright’s award and the director of the Power Street Theatre. Tickets start at $25.00. 


    Legally Blonde The Musical

    Oct. 5-27 | The Media Theatre | Media, Delaware County

    The talent of Elle Woods extends beyond legal expertise and the perfect shade of pink in this comedic production based on the hit movie. The award-winning show will leave audiences smiling and feeling a new sense of self-confidence, the theater says. Tickets start at $35. 

    If spooky is more your vibe, the Media Theatre is also putting on a one-night performance of “Dracula The Musical In Concert” on Oct. 28. 


    Frankenstein

    Oct. 8-20 | Lightbooth Blackout | Chester, Delaware County and Oct. 31-Nov. 3 | Center City Stage | 825 Walnut St., 3rd Floor

    The Mary Shelley classic gets a refresh in this performance from Lightbooth Blackout in partnership with the Lone Brick Theatre Company at Widener University. The new adaption fuses the book’s text with modern dialogue and an original score is played live during the show. Tickets start at $20. 

    If you can’t get enough of the bolted monster, Center City Stage is doing a stage production of “Mary Shelley’s Frankenstein.” The show starts out with a group of young artists together in a storm, but everything changes once lightening strikes. Center City Stage calls the show is an immersive experience that “blurs the line between reality and fiction.” Tickets are $25. 


    tick, tick…Boom!

    Oct. 9-27 |  Theatre Horizon | Norristown, PA

    The semi-biographical show by Jonathan Larson, the late composer and co-creator of “Rent,” hits this suburban stage this month in Norristown. The musical follows a New York City composer on his 30th birthday as he’s on the precipice of his big break, starring Broadway’s Robi Hager and Angel Sigala alongside Montgomery County native Elena Camp. Tickets start at $25. 


    Robin & Me: My Little Spark of Madness

    Oct. 9-27 | Hedgerow Theatre Company | Media, Delaware County

    Delaware County native Dave Droxler wrote and stars in this autobiographical play about some of his most ridiculous and difficult moments in life and how his idol, Robin Williams, helped him through it. The show comes to the area after an off-Broadway run last year that won it five Broadway World awards. Tickets start at $35. 


    Jersey Boys

    Oct. 9- Nov. 3 | Walnut Street Theatre | 825 Walnut St

    Newark supergroup Franki Valley and the Four Seasons take the stage again in this Tony award-winning jukebox musical. Featuring hits like “Sherry,” “My Eyes Adored You” and “Can’t Take My Eyes Off of You,” the show changes “seasons” to show the perspective of each of the group’s members. Tickets start at $49. 


    Considering Matthew Shepard

    Oct. 10 | The Mann Center | 5201 Parkside Ave. 

    The Grammy-nominated choral drama tells the story of Matthew Shepard, a young gay man who was murdered in a hate crime incident in 1998. Philadelphia conductors Rollo Dilworth and Jay Fluellen lead more than 500 singers in play’s the final movement. Tickets are $36. 


    Confabulation

    Oct. 10-20 | Bob & Selma Horan Studio Theatre | 62 N. Second St.

    The Strides Collective’s production follows a gas station attendant who joins a past-life regression support group after the death of her ex-girlfriend. A hypnotherapist leads members of the group, who turn into the people from the protagonists’ life, through their journeys to find themselves. Tickets start at $25. 


    The Rocky Horror Show

    Oct. 11 – Nov. 3 | Bucks County Playhouse | New Hope, Bucks County

    It’s not science fiction, Ariana Grande’s brother, Frankie Grande, returns for the titular role as Dr. Frank-n-Furter in “The Rocky Horror Picture Show.” Based on the 1975 cult film, the musical follows an innocent couple who seek shelter at an old castle and encounter mad scientist Frank-n-Furter. Tickets start at $75.

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    Michaela Althouse

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  • Best Bets: Twyla Tharp Dance, The Music of Motown and Runaway Radio

    Best Bets: Twyla Tharp Dance, The Music of Motown and Runaway Radio

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    Breakfast is the most important meal of
    the day, and today is Better
    Breakfast Day
    , so we encourage you to get a better start on a day that will
    hopefully end with you checking out one of our best bets. Keep reading because
    this week, we’ve got season-opening programs, a documentary about a local radio
    station-turned-legend, and more.

    DACAMERA
    will open its 2024-25 season tonight, Thursday, September 26, at 7:30 p.m. with
    Takács
    Quartet and Jeremy Denk
    in concert at the Hobby Center for the Performing Arts.
    Takács Quartet will be making
    their first appearance with DACAMERA, playing Joseph Haydn’s String Quartet in
    C Major, Op. 54, No. 2, and Leoš Janáček’s String Quartet No. 1, dubbed the “Kreutzer
    Sonata” after the Leo Tolstoy novella that inspired it, while pianist and MacArthur
    “Genius” fellow Denk tackles Antonín
    Dvořák’s Piano Quintet in A Major, Op. 81, which has been called “easily
    one of the finest examples of late Romantic chamber music.
    ” Tickets for the
    performance are still available and can be purchased here for $46 to $76.

    click to enlarge

    Mei-Ann Chen and ROCO return to Miller Outdoor Theatre to perform ROCO’s 20th season-opening program.

    Photo by Violeta Alvarez

    ROCO’s full
    40-piece chamber orchestra, with three world premieres and a newly animated,
    rescored classic, will head over to Miller Outdoor Theatre on Friday,
    September 27, at 7:30 p.m. to present a spacey, season-opening program titled Remarkable.
    The program leads off the chamber orchestra’s 20th season, which you can learn
    more about here.
    Tickets
    to Friday night’s performance can be reserved here starting today,
    September 26, at 10 a.m., or you can plan to sit on the Hill without a
    ticket. As always, shows at Miller are free, and if you can’t make it, you can
    livestream this one on the Miller Outdoor Theatre website, YouTube channel, or
    Facebook page.

    Remarkable
    will be performed a second time at The Church
    of St. John the Divine
    the following night, Saturday, September 28, at 5 p.m.
    Tickets to this performance are pay-what-you-wish (with a suggested price of
    $35) and are available here. This
    performance will also be livestreamed for free on ROCO’s website, Facebook page, and YouTube channel.

    A modern-day witch living in the big
    city, played by Kim Novak, falls for a mere mortal, played by James Stewart, in
    Richard Quine’s Bell,
    Book and Candle
    – the premise of which served as an inspiration behind
    the classic American sitcom Bewitched (according
    to series’ creator Sol Saks
    ). On Friday, September 27, at 7:30 p.m., in
    honor of the 100th anniversary of Surrealism, The
    Menil Collection
    will host an outdoor screening of the 1958 rom-com. Why
    this picture? Because the film, based on a play by John Van Druten, is set in Julius
    Carlebach’s Carlebach Gallery, a favorite of the Surrealists and the place
    where Novak’s witchy Gillian Holroyd works. Moon Rooster Tacos
    and Kona Shaved Ice trucks will be
    on-site during the free, open-to-all screening.

    Celebrate the 60th anniversary of a
    pioneering dancemaker’s company on Saturday, September 28, at 7:30 p.m. when Performing Arts Houston presents Twyla
    Tharp Dance
    at the Wortham
    Theater Center
    . The program, part of the Tudor Family Dance Series, will
    feature three Tharp-choreographed works, including two new works – “a
    male solo of breadth and power
    ” called Brel,
    its title a nod to its music by Belgian vocalist Jacques Brel, and The Ballet Master, a contemporary meets
    Baroque piece with appearances by characters from Don Quixote and music by Simeon
    ten Holt
    and Antonio Vivaldi – and a revival of Ocean’s Motion, a 1975 piece for five dancers set to music by Chuck
    Berry that Tharp herself described as “cool.”
    Tickets can be purchased here
    for $29 to $99.

    Berry
    Gordy Jr. founded Motown Records (then Tamla Records) in 1959
    , and the
    label produced music that is beloved to this day. Houston Symphony will bring Motown
    classics from acts like The Supremes, Stevie Wonder, and The Jackson 5 to Jones
    Hall on Saturday, September 28, at 7:30 p.m. during Ain’t
    No Mountain High Enough: The Music of Motown
    . Conductor Steven Reineke will
    lead the Symphony, which will be joined by vocalists Capathia Jenkins, Ryan Shaw, Chelsea
    Cymone, Michael Dixon, and Raven Johnson. The concert will be presented a
    second time on Sunday, September 29, at 2 p.m., a performance which will also
    be livestreamed. Tickets to either in-hall performance can be purchased here
    for $52 to $130, or you can buy access to the livestream here for $20.

    Ethel Smyth’s 1910 composition, “The
    March of the Women,” became “the
    true anthem of the suffrage movement
    ,” with Smyth saying of it, “If
    I have contrived to get into my music anything of the spirit which makes this
    movement the finest thing I have ever known in my life, then perhaps the March
    may in some way be worthy of your acceptance.
    ” On Saturday, September 28,
    at 8 p.m., the Houston Pride Band will
    open their season with a program of music that seeks to celebrate those
    movements and activists, like Smyth and the suffrage movement, that have fought
    for equality and justice during Power to the People
    at the MATCH. Tickets to the program are
    available here
    for $5 (for children 12 and under) to $15.

    One way to run afoul of the corrupt San
    Jacinto County Sheriff’s Office under Humpy Parker – so corrupt it inspired a
    book and TV movie, 1989’s Terror on
    Highway 59
    – was to display a KLOL sticker on your car. On Wednesday,
    October 2, at 7:30 p.m., you can learn what made Houston’s progressive radio
    station so popular, beloved, and dangerous during a screening of Runaway
    Radio: The Rise and Fall of KLOL FM
    at Alta Arts. Mike McGuff, the filmmaker/local
    blogger behind the documentary, has described KLOL as a “beacon,”
    a pre-internet place for “wild
    programming and escapism
    ” known for its personalities and stunts. Tickets to
    the screening, followed by a Q&A, are available here
    for $25. (If you can’t make it, you can always stream it.)

    Backstage shenanigans take center stage
    on Wednesday, October 2, at 7:30 p.m. when the Alley Theatre opens Michael Frayn’s 1982
    three-act farce Noises Off. Elizabeth Bunch, who plays Dotty
    Otley in the show, which makes three stops in the life of the play-within-the-play,
    recently told the Houston Press that “every
    production is its own kind of journey
    ,” saying that “it
    doesn’t matter how many times you see this play, every production is going to
    be different and frankly every night could be different because of the
    electricity in the air.
    ” Performances are scheduled to continue at 7:30
    p.m. Tuesdays through Thursdays, 8 p.m. Fridays, 2:30 and 8 p.m. Saturdays, and
    2 and 7 p.m. Sundays through October 27. Tickets are available here for $29 to $105.

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    Natalie de la Garza

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  • Thom Yorke Adapts Radiohead’s Hail to the Thief for New Production of Hamlet

    Thom Yorke Adapts Radiohead’s Hail to the Thief for New Production of Hamlet

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    Radiohead’s pivotal, politically charged 2003 album, Hail to the Thief, will take a Shakespearean turn on stage next spring, when Thom Yorke adapts it for a new production of Hamlet. Titled Hamlet Hail to the Thief, the show will feature William Shakespeare’s text and the songs of Hail to the Thief, which have been reworked and orchestrated by Yorke for a cast of 20 musicians and actors.

    Hamlet Hail to the Thief was adapted by director Steven Hoggett and Christine Jones, with arrangements by Justin Levine. Per press materials, the feverish piece will fuse movement, theater, and music into an all-new interpretation of the historic play. The new production depicts the Danish city of Elsinore as a hellish surveillance state, where paranoia a corruption plagues the reign of Prince Hamlet and Ophelia.

    “This is an interesting and intimidating challenge!” Yorke said of the project in press materials. “Adapting the original music of Hail to The Thief for live performance with the actors on stage to tell this story that is forever being told, using its familiarity and sounds, pulling them into and out of context, seeing what chimes with the underlying grief and paranoia of Hamlet, using the music as a ‘presence’ in the room, watching how it collides with the action and the text. Ghosting one against the other.”

    Jones added:

    The first Radiohead concert I ever saw was the Hail to the Thief tour in 2003. It changed my DNA. Not long after, I was reading Hamlet and listening to the album. Paying attention to the lyrics, I became aware of how many songs from Hail to the Thief speak to the themes of the play. There are uncanny reverberances between the text and the album. For years I’ve wanted to see the play and album collide in a piece of theatre; eventually I shared the idea with Thom, who was intrigued. I wasn’t sure what we would make, but I knew I wanted to make it with Steven and continue experimenting and building on work we have done together over many years.

    We’ve found that the play haunts the album, and the album haunts the play. Both reflect the internal disquiet and rage that result from despair—in particular despair arising from scrutiny of dominant power structures—whether within governments, communities, or families. The text and music probe us relentlessly to question what we are made of, and how to discern right from wrong.

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    Madison Bloom

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  • Review: Forbidden Broadway Mercilessly Mauls the Hits

    Review: Forbidden Broadway Mercilessly Mauls the Hits

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    Jenny Lee Stern and Danny Hayward in Forbidden Broadway. Carol Rosegg

    When I was a callow theater kid, I hated musicals: it was a bastard genre, inferior to the classics and modern drama. To be honest, I didn’t know any musicals, so my distaste was based on ignorance and secondhand derision—cartoons and spoofs. A Broadway-besotted college chum took pity and made me a Stephen Sondheim mixtape. He included (along with tracks from Merrily, George, Sweeney, et cetera) “Into the Words” from Forbidden Broadway: Volume 2 (1991). The piss-taking ditty lampooned the density and complexity of Sondheim’s lyrics to the tune of the “Prologue” from Into the Woods: “Into the words / That fly and try to make you / Choke the joke you’ve sung / Into the words / More letters than / They sell on Wheel of Fortune.” Somehow, this mockery increased my admiration even more. 

    Decades after my classmate enlightened me, I’m the polar opposite of a musical-phobic youth: I have many opinions about Broadway shows. Especially recent ones—which take a jolly beating in Forbidden Broadway: Merrily We Stole a Song, the new batch of sung spoofs and malicious medleys by Gerard Alessandrini. The master satirist’s long-lived revue is 42 years old and a cottage industry (with national tours and multiple albums). He and his cast of wildly talented mimics took a long, hard look at the 2023–24 season and said, “Phooey!” To get the gags, is it essential to have suffered through—I mean, sat through—song-and-dance spectacles of past years? Not really. Idly browsing social media you probably learned that Eddie Redmayne’s Emcee from the Cabaret revival was divisive, to say the least.

    Nicole Vanessa Ortiz, Danny Hayward and Chris Collins-Pisano (from left) in Forbidden Broadway. Carol Rosegg

    To say the most (and Alessandrini does), the twitchy Brit stank. As droll accompanist Fred Barton plunks out the Kurt Weill–y vamp from “Wilkommen,” Danny Hayward enters in classic Joel Grey-as-Emcee drag, taking us on a tour of the role: camped up by Alan Cumming in the ’90s then clowned into garish nonsense by Redmayne. Hayward morphs between his nested impersonations with the help of Dustin Cross’s ingenious tear-away costumes. Jenny Lee Stern joins the savaging as a demented Gayle Rankin who shrieks her way through Sally Bowles’s titular tune: “What good is playing this role the ol’ way / Liza was just o.k.! / Come see my dark deranged display / Come drag my painted corpse away / When I murder Cabaret!” 

    Later, the formidable Stern appears in a sendup of “The Ladies Who Lunch” (Company was a couple of seasons back, but who’s counting). Stern delivers a pitchy-perfect version of Patti LuPone’s consonant-melting, lyric-chewing, melismatic snarl. Nicole Vanessa Ortiz likewise has fun reproducing Audra McDonald’s opera-meets-Broadway soprano in a melodramatic take on “Rose’s Turn,” as the six-time Tony winner shudders before the ghost of Ethel Merman. (Audra’s Gypsy opens in December.)

    Danny Hayward and Chris Collins-Pisano in Forbidden Broadway. Carol Rosegg

    Everybody comes in for a spanking, even straight plays. The impish Chris Collins-Pisano dons brunette pigtails as Cole Escola urging us to “attend the tale of Mary Todd.” Continuing the women-in-politics theme, Stern pops up as Shaina Taub (pronounced “Tobb,” for a nearer rhyme) heralded as “the Lin-Manuel of New Broadway.” Although grumbling that Broadway musicals are vulgar, derivative, and phony is like complaining that action movies contain violence, Alessandrini has standards and he’s not afraid to uphold them, with a wink. Ben Platt is a narcissistic warbler. Hell’s Kitchen is ersatz self-mythologizing. Lincoln Center is full of snobs. Merrily We Roll Along recouped only because of “Harry Potter, Inc.” One of the best extended gags involves Back to the Future’s Marty McFly (Hayward) and Doc Brown (Collins-Pisano) time-warping to 1945 (in search of musicals that were artful and affordable), and accidentally derailing the artistic development of 15-year-old Stephen Sondheim. Dazzled by Doc’s space-age DeLorean, Sondheim grows up to be a car designer, meaning that Broadway in the 23rd century is an AI wasteland of robots and reboots and celebrity branding (a video backdrop of the future Great White Way includes a marquis for the Sean Hayes Theatre.)

    Forbidden Broadway is a goof, but a virtuosic and stylish one, with infectious comic verve and lyrics that range from wittily inspired to boldly dumb (rhyming “earplugs” with “queer drugs”). It’s Mad Magazine with jazz hands; Saturday Night Live with people who can actually sing and dance; the antidote to hate watching; and a much-needed immunization for the season.

    Forbidden Broadway: Merrily We Stole a Song | 1hr 30mins. No intermission. | Theatre 555 | 555 West 42nd Street | 646-410-2277 | Buy Tickets Here   

    Review: Forbidden Broadway Mercilessly Mauls the Hits

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    David Cote

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  • The Magnetic Fields’ 69 Love Songs Inspires New Broadway Show All In: Comedy About Love by Simon Rich

    The Magnetic Fields’ 69 Love Songs Inspires New Broadway Show All In: Comedy About Love by Simon Rich

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    Last week, producers Seaview and Lorne Michaels announced some details about the new Broadway show All In: Comedy About Love by Simon Rich. The production, directed by Alex Timbers, stars John Mulaney and opens at New York’s Hudson Theatre on Wednesday, December 11.

    Now, it’s been announced that the musical duo the Bengsons will take part in All In, playing songs from the Magnetic Fields. “69 Love Songs, by the Magnetic Fields, directly inspired me to write the love stories that became All In,” Simon Rich commented in a press release. “Stephin Merritt is my favorite living songwriter, and he’s probably better than all the dead ones I like, too.”

    In addition, Stephin Merritt told Rolling Stone, “I am excited to see how this famous humorist has used my songs. It’s always fun to see how actors interpret them, and if I weren’t on tour, I’d be sneaking into rehearsals, pretending to be a stagehand.”

    All In: Comedy About Love by Simon Rich, according to a synopsis, features “a series of hilarious stories about dating, heartbreak, marriage and that sort of thing, adapted from the short stories of Simon Rich.” Across its 10-week run, it’ll be performed by a rotating cast of actors, including Fred Armisen, Renée Elise Goldsberry, Saturday Night Live star Chloe Fineman, and Richard Kind.

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    Matthew Strauss

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  • Free Will Astrology (Sept. 18-24)

    Free Will Astrology (Sept. 18-24)

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    ARIES (March 21-April 19): Few of the vegetables grown in the 21st century are in their original wild form. Many are the result of crossbreeding carried out by humans. The intention is to increase the nutritional value of the food, boost its yield, improve its resistance to insect predators, and help it survive weather extremes. I invite you to apply the metaphor of crossbreeding to your life in the coming months. You will place yourself in maximum alignment with cosmic rhythms if you conjure up new blends. So be a mix master, Aries. Favor amalgamations and collaborations. Transform jumbles and hodgepodges into graceful composites. Make “alloy” and “hybrid” your words of power.

    TAURUS (April 20-May 20): “All I ask is the chance to prove that money can’t make me happy,” quipped comedian Spike Milligan. I propose we make that your running joke for the next eight months. If there was ever a time when you could get rich more quickly, it would be between now and mid-2025. And the chances of that happening may be enhanced considerably if you optimize your relationship with work. What can you do now to help ensure you will be working at a well-paying job you like for years to come?

    GEMINI (May 21-June 20): The World Health Organization says that 3.5 billion people in the world don’t have access to safe toilets; 2.2 billion live without safe drinking water; 2 billion don’t have facilities in their homes to wash their hands with soap and water. But it’s almost certain that you don’t suffer from these basic privations. Most likely, you get all the water you require to be secure and healthy. You have what you need to cook food and make drinks. You can take baths or showers whenever you want. You wash your clothes easily. Maybe you water a garden. I bring this to your attention because now is an excellent time to celebrate the water in your life. It’s also a favorable time to be extra fluid and flowing and juicy. Here’s a fun riddle for you: What could you do to make your inner life wetter and better lubricated?

    CANCER (June 21-July 22): Cancerian rapper and actor Jaden Smith has won a few mid-level awards and has been nominated for a Grammy. But I was surprised that he said, “I don’t think I’m as revolutionary as Galileo, but I don’t think I’m not as revolutionary as Galileo.” If I’m interpreting his sly brag correctly, Jaden is suggesting that maybe he is indeed pretty damn revolutionary. I’m thrilled he said it because I love to see you Cancerians overcome your natural inclination to be overly humble and self-effacing. It’s OK with me if you sometimes push too far. In the coming weeks, I am giving you a license to wander into the frontiers of braggadocio.

    LEO (July 23-Aug. 22): Research by psychologists at Queen’s University in Canada concluded that the average human has about 6,200 thoughts every day. Other studies suggest that 75% of our thoughts are negative, and 95% are repetitive. But here’s the good news, Leo: My astrological analysis suggests that the amount of your negative and repetitive thoughts could diminish in the coming weeks. You might even get those percentages down to 35% and 50%, respectively. Just imagine how refreshed you will feel. With all that rejuvenating energy coursing through your brain, you may generate positive, unique thoughts at an astounding rate. Take maximum advantage, please!

    VIRGO (Aug. 23-Sept. 22): You have probably heard the platitude, “Be cautious about what you wish for. You might get it.” The implied warning is that if your big desires are fulfilled, your life may change in unpredictable ways that require major adjustments. That’s useful advice. However, I have often found that the “major adjustments” necessary are often interesting and healing — strenuous, perhaps, but ultimately enlivening. In my vision of your future, Virgo, the consequences of your completed goal will fit that description. You will be mostly pleased with the adaptations you must undertake in response to your success.

    LIBRA (Sept. 23-Oct. 22): The bird known as the gray-headed albatross makes long, continuous flights without touching down on the ground. I propose we nominate this robust traveler to be one of your inspirational animals in the coming months. I suspect that you, too, will be capable of prolonged, vigorous quests that unleash interesting changes in your life. I don’t necessarily mean your quests will involve literal long-distance travel. They may, but they might also take the form of vast and deep explorations of your inner terrain. Or maybe you will engage in bold efforts to investigate mysteries that will dramatically open your mind and heart.

    SCORPIO (Oct. 23-Nov. 21): You are in a good position and frame of mind to go hunting for a novel problem or two. I’m half-joking, but I’m also very serious. I believe you are primed to track down interesting dilemmas that will bring out the best in you and attract the educational experiences you need. These provocative riddles will ensure that boring old riddles and paltry hassles won’t bother you. Bonus prediction: You are also likely to dream up an original new “sin” that will stir up lucky fun.

    SAGITTARIUS (Nov. 22-Dec. 21): Your spinning and weaving abilities will be strong in the coming weeks. I predict that your knack for creating sturdy, beautiful webs will catch the resources and influences you require. Like a spider, you must simply prepare the scenarios to attract what you need, then patiently relax while it all comes to you. Refining the metaphor further, I will tell you that you have symbolic resemblances to the spiders known as cross orbweavers. They produce seven different kinds of silk, each useful in its own way — and in a sense, so can you. Your versatility will help you succeed in interesting ways.

    CAPRICORN (Dec. 22-Jan. 19): Capricorn basketball player JamesOn Curry had the briefest career of anyone who ever played in America’s top professional league. Around his birthday in 2010, while a member of the Los Angeles Clippers, he appeared on the court for 3.9 seconds — and never returned. Such a short-lived effort is unusual for the Capricorn tribe — and will not characterize your destiny in the coming months. I predict you will generate an intense outpouring of your sign’s more typical expressions: durability, diligence, persistence, tenacity, resilience, determination, resolve, and steadfastness. Ready to get underway in earnest?

    AQUARIUS (Jan. 20-Feb. 18): It’s a good time for you to embrace the serpent, metaphorically speaking. You may even enjoy riding and playing with and learning from the serpent. The coming weeks will also be a favorable phase for you to kiss the wind and consult with the ancestors and wrestle with the most fascinating questions you know. So get a wild look in your eyes, dear Aquarius. Dare to shed mediocre pleasures so you can better pursue spectacular pleasures. Experiment only with smart gambles and high-integrity temptations, and flee the other kinds. P.S.: If you challenge the past to a duel (a prospect I approve of), be well-armed with the future.

    PISCES (Feb. 19-March 20): Panda bears don’t seem to enjoy having sex. The typical length of their mating encounters is from 30 seconds to two minutes. There was a dramatic exception to the rule in 2015, however. Lu Lu and Zhen Zhen, pandas living at the Sichuan Giant Panda Research Center in China, snuggled and embraced for 18 minutes. It was unprecedented. I encourage you, too, to break your previous records for tender cuddling and erotic play in the coming weeks. The longer and slower you go, the more likely it is you will generate spiritual epiphanies and awakenings.

    Homework: What can you do to boost your ability to have fun?

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    Rob Brezsny

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  • The Marriage of Figaro, Almost Solo and Fully Alfresco

    The Marriage of Figaro, Almost Solo and Fully Alfresco

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    Christopher Bannow and Anthony Roth Costanzo in The Marriage of Figaro.
    Photo: Nina Westervelt

    The night breeze was delicious in that late summer way, the lights of Jersey twinkled across the Hudson, and the countertenor Anthony Roth Costanzo’s vocal cords were projected live on two giant screens, pink and weird and undulating like some beast from the Aliens franchise, as he sang Countess Rosina’s Act Three aria, “Dove sono i bei momenti.” The image made my jaw drop, though perhaps not as much as Costanzo’s — there it loomed, a kind of weird, fleshy synecdoche for all of the frenetically ingenious reimagining of The Marriage of Figaro that’s currently bursting the seams of the outdoor amphitheater at Little Island. Like the production as a whole—which (full disclosure) I saw in a preview rather than at the opening night for critics, and (even fuller disclosure) whose creative team includes several people I know—the moment is both exposed and audacious, at once totally naked and flamboyantly theatrical. It’s a “watch this” flourish in a show that’s full of them. Indeed, this Figaro’s sleeves are so stuffed with tricks it sometimes feels like it’s in an arms race with itself — and, at the same time, the physical truth of the gesture is a wonder. Here on display is the paradox of opera: As a form, it could hardly be more absurd, more flagrantly artificial, and yet the whole precarious, glittering edifice rests atop a real miracle of the human body. If we are sad for the countess, it’s because we stand in awe of the larynx.

    Now, take that awe—however much of it you’d spend on nine or so major characters—and stuff it into one body. Costanzo, who recently took over Opera Philadelphia and who seems to pop up almost any time something rad is happening in the opera world, sings every role in this Figaro himself. The show is his baby, gestated with the dramaturg Jacob Mallinson Bird and delivered with mad-scientist zeal by the inexhaustible director Dustin Wills. Rounding out the brain trust is musical director Dan Schlosberg, who helps to bring the whole thing in under 90 minutes by brilliantly slimming down the arrangement for an eight-piece orchestra, which he conducts with ferocity and precision from behind the keyboard. Virtuosity abounds — and extends into the ensemble. For Costanzo isn’t alone onstage; he’s surrounded by a company of actors, all first-rate clowns, who begin the play as his harried, breathless stagehands and gradually morph into full expressions of Mozart and Da Ponte’s characters. Costanzo may be the Kathy Seldon to their Lina Lamonts, but they’re nobody’s puppets. Their bodies—and, ultimately, their own voices—are just as crucial to the project as his. This breadth and depth of creative vitality is what keeps the core concept from feeling like a party trick. We’re not just here for a showcase by Costanzo, but to witness something more like a circus — the wild, symbiotic, you-catch-me I’ll-catch-you frisson of a trapeze act.

    That kind of high-stakes, all-hands agility is really what farce requires. Figaro’s careering upstairs-downstairs shenanigans—derived from the deceptively fizzy 1778 play by Pierre Beaumarchais—are also well suited to Wills as a high priest of the church of More Is More. You might think at first that all there is to the show’s set (co-designed by Wills and Lisa Laratta) is its elegant wooden deck and its view of the Hudson, but it’s practically a pop-up book. Trap doors and rollaway sections of floor reveal lights, curtains, furniture, instruments, and people. Ryan Shinji Murray, embodying the drunken gardener Antonio, lip-syncs the majority of his part while doing flips on a previously hidden trampoline. Every climax one-ups itself; every metatheatrical break breaks again. Though I sometimes wished for a more rigorous edit—especially after Costanzo single-voicedly pulls off the opera’s insane Act Two finale and a break has to be built into the show for him—it would be simple petulance to resent a director with 50 ideas to spare when plenty struggle to have just one. This Figaro’s muchness is, more than anything else, ecstatically playful.

    Such a breakneck, everything-and-the-kitchen-sink approach requires a confident handshake, and Wills, Costanzo, and company immediately define the terms: Here comes the countertenor—slight and muscular, with a face somehow both chiseled and elastic—wrestling a rolling costume rack up a ramp and onto the stage with the help of actor Emma Ramos, who wears a stage manager’s headset and a Buster Keaton–ish expression of deadpan haplessness. A spotlight catches Costanzo like a burglar in an old movie. Ramos shoves a yardstick in his hand and a tricorn on his head. Poof, he’s the affable, wily manservant Figaro, busy measuring out the space for his wedding bed. But all it takes for him to become his own fiancée, the clever maid Susanna, is for a rolling door to rotate and for him to sing through a window in its center, while a dress rigged up below the window (and a gazelle’s leap into the treble clef) alert us to his new identity. Then, poof again — a clownish red onesie with a lace collar conjures Cherubino, the adorably sex-crazed serving boy who’s usually played by a female mezzo. (This is where Costanzo’s voice and persona most naturally sit, and indeed, the seeds were planted for this Figaro long ago, when he first played Cherubino at 17.) Fleet, irreverent subtitles by Nicholas Betson and witty, rehearsal-style costume pieces by Emily Bode—a hat and waistcoat here, an open-back dress, a flower crown and ribbon there—keep us up to speed and entertained on multiple levels: Costanzo’s body-hopping experiment, after all, is layered on top of a play that already revels in disguise, swapped outfits, and mistaken identity. But in all the chaos, there’s no confusion. Wills is the kind of man behind the curtain who wants you to pay attention to the strings and levers. We follow, and we take delight, because the magician reveals the trick and trusts the revelation to generate the real magic.

    Or magicians, I should say. Along with Murray and Ramos, actors Christopher Bannow, Ariana Venturi, and Daniel Liu, all gifted comedians, also become conjurers as the play goes along. In a parallel to Figaro’s own smiling subversiveness (the original play “caused the French Revolution,” Liu quips at one point, “because the servants had opinions or something”), the production’s corps of non-singers eventually ditch their headsets for costumes and opinions of their own. No longer will they run behind Costanzo, moving furniture and catching discarded props — now they’ll go toe to toe with him, even as he ventriloquizes for them. The results can be hilarious, as when Costanzo’s lower register pours out of Venturi, who swaggers and stamps her way across the stage as the lascivious Count Almaviva, a femme form joyously channeling ridiculous machismo. They can also be astonishingly poignant: Sad-eyed and tender in a golden gown, Liu’s Countess twice prompts a gorgeous ritardando in the production’s madcap tempo simply by sitting still and embodying the heartache of Costanzo’s mezzo. Both “Porgi amor” and “Dove sono” become fully hers, the Countess’s, and his, Liu’s, even as we stare down Costanzo’s trachea during the latter. There’s a delicate act of transference happening, a gift being given, and given doubly. If Liu is a conduit, so too, in some ineffable sense, is Costanzo. The fact that the music travels through an extra body on its way to us heightens our awareness of the miracle of its emergence in the first place.

    The Marriage of Figaro is at Little Island through September 22.

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    Sara Holdren

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  • The lead actors are revealed for the Broadway-bound dramatic sea musical ‘Swept Away’

    The lead actors are revealed for the Broadway-bound dramatic sea musical ‘Swept Away’

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    NEW YORK — The four stars who helped shape the new musical “Swept Away” — John Gallagher Jr., Stark Sands, Adrian Blake Enscoe and Wayne Duvall — will steer the nautical tale to the commercial waves of Broadway.

    The tale about four men stranded in the Atlantic Ocean after a 19th-century shipwreck features songs from The Avett Brothers — especially their 2004 album “Mignonette” — and drops anchor at the Longacre Theatre in October.

    “This musical, much like our relationship, revolves around the theme of brotherhood. Being able to watch John, Stark, Adrian and Wayne team up in the development of ‘Swept Away’ over these years has been the precise definition of brotherhood,” The Avett Brothers said in a statement.

    The show has a story by John Logan, the Tony Award-winning playwright of 2009’s “Red” and screenwriter behind “Gladiator,” “The Aviator” and “Skyfall.” It premiered at Berkeley Repertory Theatre in early 2022 and then went to Arena Stage in Washington, D.C.

    The Washington Post said the show “aligns with such boundary-pushing musicals as ‘Next to Normal’ and ‘Dear Evan Hansen,’” while MD Theatre Guide said: “With themes of sacrifice, absolution, and confession, ‘Swept Away’ unfolds like Christian parable, albeit one better aligned with Easter than Christmas.”

    Tony-winner Michael Mayer will direct the show and reunite on Broadway with Gallagher, who won a Tony in the original 2006 production of his “Spring Awakening.” Mayer also directed both Gallagher and Sands in “American Idiot.”

    “Making this new show with my frequent collaborators John Gallagher Jr. and Stark Sands as well as the rest of this marvelous company continues to be deeply gratifying. I can’t wait to share the work with Broadway audiences this fall,” Mayer told The Associated Press.

    Sands is a two-time Tony nominee for his performances in “Kinky Boots” and “Journey’s End,” Duvall was last on Broadway in “1984” and Enscoe starred opposite Hailee Steinfeld and Jane Krakowski, in Apple TV’s “Dickinson.”

    Broadway musicals set at sea are not uncommon, such as “Anything Goes,” “Titanic” and “Dames at Sea.” But some have fared less well, like “The Pirate Queen” and “The Last Ship.”

    ___

    Mark Kennedy is at http://twitter.com/KennedyTwits

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