Entertaining musical features electric dancing, singing and stunning visuals 35MM: A Musical Exhibition fuses photography and musical theater. Measure for Measure Theatre Company in South Florida, for the most part, scores a hit with their Ryan Scott Oliver/Matthew Murphy show

Anthony Roth Costanzo has a manly strength and a feminine range, giving surreal power to the voice. Costanzo not only sports this range but is committed to bringing its beauty to an audience unfamiliar with the pleasures of classical music. His alliance with Opera Philadelphia and headline position at the second annual O 18 Festival in Philadelphia is represented in a program at the Barnes Museum.

Rumors that Gaetano Donizetti was of Scotch origin swirled over the Italian countryside when his opera Lucia di Lammermoor was first produced. They were untrue. Now Laurent Pelly gives us a grim, grey countryside to match the mood of the opera's heroine. Brenda Rae triumphs in the role at the Academy of Music in Philadelphia.

Pirandello is best known for his 1921 play Six Characters in Search of an Author, but he wrote a huge volume of novels and short stories, as well as 20 major plays. Trap Door’s production of Naked is engrossing and sometimes confusing, but Martinovich’s direction is smooth.

Ne Quittez Pas is writ large on a marquee in a hot neighborhood of Philadelphia. Hold on, it says. Don’t leave. Stay on the line. This is a phrase used repeatedly in the old French telephone service, a main character in the opera to unfold inside the club, Theater of the Living Arts, a disco/nightclub near the harbor.

In 1978, at Boston's Atlantic Gallery, Jay Jaroslav displayed large, photo realist facsimiles of appropriated birth certificates. The certificates of infants roughly the artist's age had died within a week of birth. He used them to obtain social security, passports and driver's licenses to create 31 purloined identities. The current exhibition at Trident Gallery, his first solo in three decades, further explores documents and process as conceptual art.

Most folks have no idea of Detroit’s winemaking history. In 1702, Antoine de la Mothe Cadillac wrote about the vineyards he planted along the Detroit River (some of the first in North America). Prior to Prohibition, Kownacki notes, several Michigan wineries existed. One of these became known as St. Julian Wine Company, which today produces more than 50 different kinds of wine.

We can count the ways the JACK delights in The Catacombs of the Greenwood Cemetery in Brooklyn. Depth, breath and height, as far as the strings can reach, up and down. The Catacombs, wrapped in a mysterious yellow light ebbing to darkness added to this moving presentation.

The avant-garde master and Nobel Prize winner, Luigi Pirandello, was a prolific writer including some 40 plays. Other than the iconic Six Characters in Search of an Author they are rarely produced today. Notably Berkshire Theatre Group is presenting a new translation of the 1922 melodrama (his term) Naked.

The 850 seat, Art Deco, Cabot Theatre in Beverly, Mass. has been beautifully renovated. It is proving to be a perfect setting for jazz concerts. Recently we enjoyed an evening with jazz violinist Jean-Luc Ponty. It was a compelling retrospetive of The Atlantic Years.

A quartet of performers in musical tribute find the emotion in songs Frank Sinatra made popular. MNM Theatre Company in West Palm Beach stages a lavish production that will leave you reminiscing. The male cast members offer no impersonations of Ol' Blue Eyes and don't sound like him. However, they, and their female partners, capture the legend's essence.

Bernhardt/Hamlet by Theresa Rebeck has arrived at the Roundabout Theatre where it plays in a limited run through November 11. Bernhardt is played by the glorious Janet McTeer, seen as a powerful Nora in Ibsen’s The Doll House and as Albert Nobb's Hubert Page, her Golden Globe and Academy Award nominated role.

Kicking off the series on October 21 is the lecture “Art, Money, Oil, and Guns: The Saga of the Guggenheim Abu Dhabi.” The lecture traces the narrative arcs of two important elements that combined to produce the Guggenheim Abu Dhabi, an extraordinary new museum Tom Krens has called “the Apotheosis.” He is the former director of the Guggenheim Foundation.

Bill Irwin, with his mastery of the physical, clownish gesture and the musical lines of language presents a moving portrait of selections from Samuel Beckett’s work at the Irish Repertory Theater through November 4. Interspersing his own commentary with performance, we are taken in and out of the playwright’s work, as Irwin explains clowning and physical theater, an important part of Beckett, and also productions past in which he has enjoyed the company of Steve Martin and the late Robin Williams whose body sailed into a Godot scene. In Beckett you laugh through pain.

A star attraction on the European circuit, Italian Carmen Giannattasio makes her San Francisco Opera debut and role debut as the title character. The soprano was offered the part earlier in her career, but she declined.

The High Line is a big idea writ large, just like operas. It forms a perfect set for Mile Long Opera. Elizabeth Diller gets a director’s credit for an opera written specially for this location by David Lang. Anne Carson is librettist and Claudia Rankine, essayist. Mile Long Opera is subtitled, a biography of 7 pm, a time of transition from work to home.

Kathy Scambiatterra directs this complex political/musical story, based on the Czech music fans and political dissidents in the years between the Prague Spring in 1968 and the Velvet Revolution of 1989.

Puglia is referred to as the 'boot or heel' of Italy. It is located easternmost on the bottom of Italy and has 325 miles of coastline, whch helps enhance the grapes from the province. The wines are interesting and kin to American Zinfandel, a varietal dominant in the northwest.

Audiences will eat up South Florida fun and funny production of Little Shop of Horrors. Over-the-top humor, mixed with some subtlety, add up to a biting Lightning Bolt Productions' mounting. The director serves double duty as the nerdy Seymour.

While he may be best known for directing award-winning films like “Apocalypse Now” and the “Godfather” series, Francis Ford Coppola (www.FrancisCoppolaWinery.com) was a winemaker before he was a filmmaker.

Wilde’s highly-charged, sexual novella, and the Hollywood production code-driven 1945 movie, intrigued A Noise Within theatre director Michael Michetti, into tackling a stage adaptation in 2006 at Pasadena’s Boston Court Theatre. Mr. Michetti’s 2018 production now on stage at the A Noise Within Theatre, in East Pasadena, closely adheres to Wilde’s original story and most of his dialogue.

Final Follies, an evening of one act plays by A.J.Gurney is playing at The Cherry Lane Theater home of Primary Stages, Gurney's primary producers over the past decade. The first play, titled Final Follies was delivered to Gurney's agent a week before he died last year. It is a juicy send off for a haute Wasp author, who sees acting in porn movies as a job solution for waning WASPs looking for a way to earn a living.

My Parsifal Conductor, Allan Leicht's hilarious and touching comedy on the late domestic life of Richard Wagner, which extends into immortality, is playing at the Marjorie S. Deane Little Theater through November 3. At the center of the curtainless stage is a big double bed over which a heavenly canopy hangs. We are somewhere between heaven and earth where Cosima Liszt Bulow Wagner is taking her last gasps. She is ninety and married Richard Wagner 60 years ago, after the birth of their three children, Isolde, Eva and Siegfried. Wagner died after 13 years of marriage.

Place by Ted Hearne has its world premier as part of BAM’s New Wave Festival. Like Giuseppe Verdi whose music became the anthem of Italian unification, Hearne is a voice for the big issues before our country. His new oratorio addresses ‘gentrification.’ It is deeply personal and deeply moving.

The Angel's Share at Green-Wood cemetery concluded is season with a double bill of horror operas. In Tell-Tale Heart, Jennifer Johnson Cano charted her devolution into violence and self-incrimination with gusto, her final outcry answered only by that thumping two-note figure from Gregg Kallor's keyboard. Was she mad? Had she committed murder? Was there ever an old man to be killed in the first place? All these questions swirled and squirmed in one's mind, and the only answer follows.