Recently in Theater Category
Do we really need to explain why Givenik.com is one of this month's Things We Love*? (OK, apparently we do!)
We love to see shows on Broadway. It's one of the biggest frills that comes with being a New Yorker. You also know that we love giving to charities (yes - even in these tough times ... they need us the most now). Well, now we can do BOTH of these things at the same time.
With Givenik.com, you can get great discounts on Broadway and Off-Broadway tickets and have 5% donated to the charity of your choice! Honestly, why wouldn't you use Givenik to get your tix?
This is cool enough with individual ticket purchases - but just imagine how much you could raise for your favorite charity if you organize group sales! Although you can always add one of your charities to get that 5% ... we were happy to see that some of our favorites are already listed:
*who do we think we are, Oprah?
Love the Kristen. Love the Intervention. Love urlesque for sending it our way.
We just can't tell you how excited we are to see Kristen again in . Everyone better catch up and then start watching again on Wednesday, October 1st at 8pm!
See more Kristin Chenoweth videos at Funny or Die
We just can't tell you how excited we are to see Kristen again in . Everyone better catch up and then start watching again on Wednesday, October 1st at 8pm!
I know I've mentioned it before (and you probably didn't listen to me), but now that the world premiere of Misnomer's "Throw People" is featured as a must-see performance in The New York Times Season Preview, you better get some tickets fast.
Developed during a year-long residency from The Joyce Theater, this work promises to be a blend of "serious play [and] jarring tenderness" while managing to be "simultaneously otherworldly and innately human". Oddly enough, I think they can deliver.
Live original music will be performed by Andy Teirstein on marimba, accordion (I'm jealous), trumpet, mandolin ... the list goes on.
Throw People
May 11-14, 2006
Thursday through Sunday, 8pm
Saturday and Sunday, 5pm
Tix: $20; $15 (students/seniors)
Performance Space 122
150 1st Ave at 9th Street
And shhhh, don't tell, but they're going to be featured soon on the homepage of apple.com. How cool is that!? Oh, and the poster photo above was taken by Mark Sadan.
Developed during a year-long residency from The Joyce Theater, this work promises to be a blend of "serious play [and] jarring tenderness" while managing to be "simultaneously otherworldly and innately human". Oddly enough, I think they can deliver.
Live original music will be performed by Andy Teirstein on marimba, accordion (I'm jealous), trumpet, mandolin ... the list goes on.
Throw People
May 11-14, 2006
Thursday through Sunday, 8pm
Saturday and Sunday, 5pm
Tix: $20; $15 (students/seniors)
Performance Space 122
150 1st Ave at 9th Street
And shhhh, don't tell, but they're going to be featured soon on the homepage of apple.com. How cool is that!? Oh, and the poster photo above was taken by Mark Sadan.
OK, really now. When has the title of a show been as much fun to say as 'Measure for Pleasure'? I just can't stop saying it. "Meeeeeeh-shuuuure for Pleeeeeh-shuuuure". I'm a geek, I know. Just gotta embrace it sometimes.
Opening last night for previews at the Public Theater, Measure for Pleasure is on my short list of shows to see. Not only does it have a damn hot poster (see Gawker for the clean version printed in the NY Times), but it's directed by the uber-talented Peter DuBois - who directed Richard III last year and, before coming to the Public, served as Artistic Director of the Perseverance Theater. This new play (read: world premiere) by David Grimm sounds like sex for my brain (and I'm expecting it to deliver):
But really, just think of the fun you'll have the next morning telling all your co-workers, "I just saw this great show downtown featuring a sex cave!" How often are you going to be able to say that? Tix here.
Opening last night for previews at the Public Theater, Measure for Pleasure is on my short list of shows to see. Not only does it have a damn hot poster (see Gawker for the clean version printed in the NY Times), but it's directed by the uber-talented Peter DuBois - who directed Richard III last year and, before coming to the Public, served as Artistic Director of the Perseverance Theater. This new play (read: world premiere) by David Grimm sounds like sex for my brain (and I'm expecting it to deliver):
Will Blunt is in love with Molly, a young transvestite prostitute. But when Blunt rescues him from a life on the streets, he doesn't count on Molly falling in love with Dashwood, the handsome womanizing rake.Obligatory sex cave? Sounds like a typical night out in the East Village, if you ask me.
Restoration comedy meets modern sex farce in this romantic adventure, exploring the elusive nature of happiness; featuring mistaken identities, duels and double-dealings, and the obligatory sex cave.
But really, just think of the fun you'll have the next morning telling all your co-workers, "I just saw this great show downtown featuring a sex cave!" How often are you going to be able to say that? Tix here.
Now, we all know that BAM has some kick ass performances - especially as part of it's Next Wave Festival, but I was unprepared for the journey on which the Compagnia Aterballetto would take me last night when I attended the opening night performances of Les Noces and Petrushka.
Before the curtain even rises on Les Noces, the audience is flooded with the sound of metal 'chairs' being rocked against the stage in unison by their soon-to-be-revealed occupants. Immediately drawn into this hidden world, it's almost a shock to finally get to see the dancers seated frozen-faced along the wings as the curtain races towards the rafters.
I'll refrain from further description for fear of doing the work an injustice. By the end of the piece, however, I was thoroughly enjoying myself. Having given up on any attempts to follow a narrative, I was swept into the world of movement - of the surprises that the choreography and music held. The experience was similar to that of a feather gently touching a bare stomach. There is sensation. There is reaction. There is pleasure. But there are no good words to describe the feeling.
Petrushka shocked me by it's difference to the first piece. While the first dripped with restraint (which is part of what made it so beautiful), the second was unrestrained, exuberant, and sometimes (just sometimes) inexplicably creepy. As if their movements were fueled by their deepest desires, these dancers made it look way to easy to perform with such exacting technique. It was quite thrilling to watch.
Oh. And did I mention the principle male dancer for Petruska wears tight camouflage pants and a ripped up punk t-shirt? (droool.)
Normally, I would mention some of the particularly stunning dancers by name, however, I ditched my program before crashing the opening night reception with N. (Thanks, Adrian).
What surprised me most about these performances is that they stuck with me far after I had left the theater. I was touched by the passion with which the dancers embraced their roles ... embraced life, and I was inspired to re-evaluate my own 'roles' ... the ones that I have chosen to play. We'll see how that goes as time goes on, but the experience reminded me of how powerful (and purposeful) art can be.
My only criticism (there has to be one, doesn't there?) would be that the company is way too attractive for their own good.
From the press card:
Before the curtain even rises on Les Noces, the audience is flooded with the sound of metal 'chairs' being rocked against the stage in unison by their soon-to-be-revealed occupants. Immediately drawn into this hidden world, it's almost a shock to finally get to see the dancers seated frozen-faced along the wings as the curtain races towards the rafters.
I'll refrain from further description for fear of doing the work an injustice. By the end of the piece, however, I was thoroughly enjoying myself. Having given up on any attempts to follow a narrative, I was swept into the world of movement - of the surprises that the choreography and music held. The experience was similar to that of a feather gently touching a bare stomach. There is sensation. There is reaction. There is pleasure. But there are no good words to describe the feeling.
Petrushka shocked me by it's difference to the first piece. While the first dripped with restraint (which is part of what made it so beautiful), the second was unrestrained, exuberant, and sometimes (just sometimes) inexplicably creepy. As if their movements were fueled by their deepest desires, these dancers made it look way to easy to perform with such exacting technique. It was quite thrilling to watch.
Oh. And did I mention the principle male dancer for Petruska wears tight camouflage pants and a ripped up punk t-shirt? (droool.)
Normally, I would mention some of the particularly stunning dancers by name, however, I ditched my program before crashing the opening night reception with N. (Thanks, Adrian).
What surprised me most about these performances is that they stuck with me far after I had left the theater. I was touched by the passion with which the dancers embraced their roles ... embraced life, and I was inspired to re-evaluate my own 'roles' ... the ones that I have chosen to play. We'll see how that goes as time goes on, but the experience reminded me of how powerful (and purposeful) art can be.
My only criticism (there has to be one, doesn't there?) would be that the company is way too attractive for their own good.
From the press card:
Les Noces and Petrushka, two signature works of Diaghilev's Ballets Russes set to visionary scores by Stravinsky, are sensitively re-conceived by Mauro Bigonzetti, artistic director of Italy's astonishing Compagnia Aterballetto. Known for a repertory ranging from neoclassical to avant-garde to postmodern, the troupe moves between multiple genres with extraordinary ease and grace. These two works are the perfect progeny: proud of their parentage, yet unmistakably a part of the here and now.
Today's issue of amNewYork reports that a Milwaukee production of Naked Boys Singing has been shut down by the Milwaukee City Vice Squad (see below).
A Vice Squad? I didn't even know we had those anymore. It's good to see that someone's tax dollars are hard at work.
Truth be told, however, I wouldn't have minded nearly so much had the squad shut down the production based on it's low performance values and sub-par writing. (Yes yes. I saw the show. I admit it. But I was compted in. Honestly I was. Really, people - you don't think I would pay to see a show like that, do you?)
A Vice Squad? I didn't even know we had those anymore. It's good to see that someone's tax dollars are hard at work.
Truth be told, however, I wouldn't have minded nearly so much had the squad shut down the production based on it's low performance values and sub-par writing. (Yes yes. I saw the show. I admit it. But I was compted in. Honestly I was. Really, people - you don't think I would pay to see a show like that, do you?)
