THE HANGOVER REPORT – BAM resumes in-person performance with Le Patin Libre’s INFLUENCES, in which modern dance aggressively meets ice skating

Last night, I attended the Brooklyn Academy of Music’s return to live, in-person performance in over a year – Le Patin Libre’s Influences, which is being performed outdoors this week … Continue Reading →

THE HANGOVER REPORT – Immediate storytelling and cutting-edge design work ensure that BLINDNESS is a strikingly immersive theatrical experience

If last year has taught us anything, it’s that we should be regularly exercising our ability to challenge the status quo. This also applies to theater and its administration, presentation, … Continue Reading →

THE HANGOVER REPORT – The fabulous Lillias White re-opens GR42 and welcomes back in-person cabaret at long last with a rousing, upbeat set

This past weekend marked the first time that performance venues were allowed to present live shows since the pandemic hit. Among the first establishments to participate in this cautious reopening … Continue Reading →

VIEWPOINTS – Representing at the Guggenheim: In-person performance returns to the museum’s iconic rotunda with energizing beatbox, street dance, and ballroom

Today marks the first day that New York performance venues (which include theaters, comedy clubs, music venues, etc.) can officially present live indoor shows at long last – albeit at … Continue Reading →

VIEWPOINTS – Blurring the line between film and performance as they dance and sing (and lip-sync): Angélica Negrón’s THE ISLAND WE MADE and Penny Saunders’ IN ANY EVENT

As the pandemic has worn on (with an end hopefully soon in sight), I’ve increasingly seen performing arts institutions embrace filmmaking as a means to maximize engagement with audiences. Although … Continue Reading →

THE HANGOVER REPORT – Daniel J. Watts lets it all hang out in his lively coming-of-age memoir THE JAM: ONLY CHILD

Last night, I streamed Daniel J. Watts’s theatrical memoir The Jam: Only Child, courtesy of the Virginia-based Signature Theatre. Mr. Watts, a Tony nominee “this” season for his fiery performance … Continue Reading →

VIEWPOINTS – City Center’s virtual New Adventures Festival showcases Matthew Bourne’s unmatched ability to conjure fully realized worlds for his dance creations

Over the last three decades or so, Matthew Bourne and his London-based company New Adventures have dominated the market for the fresh reinvention of classics (e.g., ballets, operas, literary works) … Continue Reading →

VIEWPOINTS – Alexei Ratmansky and William Forsythe debut notable new works informed by the pandemic: BERNSTEIN IN A BUBBLE & THE BARRE PROJECT (BLAKE WORKS II)

This week, I streamed a pair of notable premieres from two of the dance world’s marquee choreographers, William Forsythe and Alexei Ratmansky. Here are my thoughts on their new pieces. … Continue Reading →

VIEWPOINTS – No visuals, but strong points of view: Audio productions of ROMEO Y JULIETA and PARADISE BLUE

During these economically and logistically difficult times, theater companies have often sought out other institutions with which to continue to present work. One of the more fascinating types of collaborations … Continue Reading →

VIEWPOINTS – What a difference a full production makes: LCT’s VANYA AND SONIA AND MASHA AND SPIKE & Goodman’s HOW TO CATCH CREATION

After being primarily relegated to decidedly unflattering and minimally theatrical Zoom-type productions over the past year, it was refreshing to be able to stream a pair of fully-staged productions from … Continue Reading →