This Saturday, the Metropolitan Opera’s “Live in HD” series will broadcast worldwide. The live performance will be streaming to more than 700 theaters in the United States, seven of which are right here in New Hampshire. Starring in the opera is soprano Patricia Racette of Manchester, New Hampshire.
Since its premiere in 1899, Anton Chekov’s play Uncle Vanya has been adapted for stages all over the world. Originally about a family property in eastern Russia, it’s been re-set in the English lake district in the 1930s, at an abandoned theater on Manhattan’s 42nd Street, and a post-apocalyptic interpretation set in Hawaii after a zombie attack.
Now, Kent Stephens, founding artistic director of Stage Force Productions, is bringing Uncle Vanya to the Maine coast. Stephen’s relocates the bored, begrudging family members to the banks of the Androscoggin – bringing 21st Century concerns of environment and land policy issues to the fore. Uncle Vanya in Maine opens this Friday, November 1st, and runs until the 10th, at the Star Theater in Kittery, Maine.
In addition to staging plays and concerts, The Palace Theater runs educational and cultural programs to engage community in the performing arts. Rebecca Gosselin is 12. She has participated in the Palace’s youth theatre programs for four years.
The Rochester Opera House is a historic theater located in the Rochester city hall. It has been a center of community and community entertainment for more than a century. Now it is leased and operated as a non-profit, bringing a variety of shows and performance opportunities to the community. Shay Willard started acting there as a sixth grader; he is now a graduate student in film production and is directing a play at the opera house.
The Agony and Ecstasy of Steve Jobs is the one-man play by Mike Daisey that runs for nine performances at the music hall loft in Portsmouth. Daisey was vilified by the media when news broke that Daisey had fabricated characters and scenes and portions of the story, which aired on This American Life. Daisey was then grilled by host Ira Glass and producer Brian Reed as part of an hour-long retraction, during which Daisey regretted airing the monologue as journalism, but denied that it wasn’t true.
In those gin-soaked days of yesteryear, a beautiful woman on the arm was an executive’s secret weapon for landing the deal. A young knock-out by your side signaled power, style, and proof that you had it all. Just ask all those Mad Men...That was then.
When Arthur Miller’s Death of a Salesmanhit Broadway and swept the Tony’s in 1949, it was a middle-class masterpiece – a transformative play that could bring even stoic-factory workers and tough-love fathers to tears. These days, the price of a ticket for the Broadway revival may be as out of reach for the average American family as a pro sports career was for Biff.
Adapted from The Servant of Two Masters, the new comedy One Man, Two Guvnors follows the "always famished and easily confused" Francis Henshall (James Corden, left), who must combat his own befuddlement while keeping both of his employers — a local gangster and criminal-in-hiding Stanley Stubbers (Oliver Chris) — from meeting.
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Henshall's second master is Rachel Crabbe (Jemima Rooper), who's Stubbers' secret lover — and posing as her dead mobster brother, whom Stubbers has killed.
If you weren't a college theater major, you can be forgiven for not knowing much about commedia dell'arte, the 500-year-old theatrical tradition that Carlo Goldoni used for his comedy The Servant of Two Masters in 1743. Contemporary playwright Richard Bean has adapted that play into the decidedly British laugh riot One Man, Two Guvnors -- and he says all you really need to know about commedia is ... well, it's funny.
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Actress Pearl Bailey during curtain call for the 1967 Broadway production of Hello, Dolly!
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Actress Mary Martin, who famously stopped the show with her performance of Cole Porter's "My Heart Belongs to Daddy," sings the number during a performance of the 1939 Broadway production of the musical Leave It to Me.
Since they made their debut in 1971, it's been rare for Andrew Lloyd Webber and Tim Rice to not have a show on Broadway. But now they're ramping it up, with the opening of Evita following fast on the heels of Jesus Christ Superstar.
"It's actually just a coincidence as far as I can tell, because the two shows came from totally different sources," Rice says. "And by sheer chance, they've arrived within two or three weeks of each other on Broadway, which is fun!"
Hollywood is dominated at the moment by the upcoming release of The Hunger Games, the first film adaptation of a phenomenally successful series of young adult novels set in a dystopian, divided America, where teenagers from different regions are pitted against each other for survival.
When 21-year-old Kevin Smith decided he wanted to be a filmmaker, his sister gave him some advice: "Don't say you want to be a filmmaker; just be one." So he did. He made his first film, Clerks, on a shoestring, shooting at the convenience store where he worked.