Andrew Lloyd Webber’s CATS on Broadway has always intrigued me. From watching it as a child, at the Winter Garden Theater to seeing many lackluster community theater adaptations, I’ve never been sure if I adored it or despised it.
By Pamela Jacobs
Hedwig and the Angry Inch : Theater Review / NY / Broadway / Time : 2014 Spring
By Rory Winston
What would I be writing if Hedwig and the Angry Inch was the name of a real band rather than the fictitious one in the play of that title? Since suspension of disbelief rarely gets easier than when one is under the spell of Neil Patrick Harris, let’s begin with our very own mock-rock concert review:
Born of the rubble that had once been the Berlin Wall, the heavily underpublicized glam-meets-punk rock band Hedwig and the Angry Inch hijacked the Belasco Theatre last night in an once-in-a-lifetime performance that showed New Yorkers that tearing down the walls of gender and musical genre alike is still one of the best ways to ‘bring down the house.’ But how did a spin-off project that had recently been no more than the supporting band for rock legend Tommy Gnosis get booked in one of the most prestigious houses on the Great White way? The story seems as twisted as the transgender East German lead singer of the band.
By Yona McDonough
You may not know the name Santo Loquasto, but you have most likely have seen his work. Loquasto has designed scenery and costumes for some of the biggest names in the business, and his skill sets ranges from classical ballet to Broadway, and from live theater to film–with a healthy dash of opera tossed into the mix. I met with Loquasto on muggy August day at the Margot Patisserie on 74th Street. A modest man with a dapper beard and killer smile, he sips an iced coffee while we talk; every now and then, he flashes that dazzling smile.
By Gunjan J. Sewhani
Resident sat down with Paige Davis, a transplanted New Yorker who has turned her passion for one of the most quintessential New York phenomena, Broadway, into a means for helping the city’s children in need. And what great timing it was: our August issue is all about the “back-to-school” season. Paige has worked extensively with Operation Backpack—providing brand-new backpacks and school supplies for kids in our city’s homeless shelters.
By Barry Bassis
Forever Tango,” Luis Bravo’s spectacular revue, should begin with a warning: “trying this at home can be injurious to your health.” The tango look is not hard to master, generally a sullen expression as the dancer stares off into space. (This seeming disinterest or antipathy is rather incongruous since their bodies are wrapped around one other.) The dangerous parts are those lightning-fast foot movements that have to be perfectly synchronized or one of the dancers would end up in a bruised heap on the floor. Like jazz, the tango began in brothels and then gained respectability as its popularity spread. “Tango Forever” recreates the various styles, from ballet to ballroom and show dancing to a wonderful comic pair, Marcelo Bernadaz and Verónica Gardella, performing “La Tablada.”
By Barry Bassis
What’s with all the plays with Russian titles this past season? There was “Vanya and Sonia and Masha and Spike,” “Nikolai and the Others,” and “Natasha, Pierre And The Great Comet of 1812.” The last one is a musical based on part of Tolstoy’s “War and Peace” and is being performed in Kazino, a supper club erected just for this show. Both the venue and the musical are worth taking in.