My Name Is Lucy Barton written by Elizabeth Stout and published to a chorus of Hosannas in 2016, is now a one-woman, 2-character play, running through February 29 at Manhattan Theatre Club’s Samuel J. Friedman Theatre on Broadway. Adapted from the book by Rona Munro and directed by Richard Eyre, Lucy Barton stars Laura Linney.

The King of the Delta Blues, Robert Johnson, died in relative obscurity on August 16, 1938. Fifty years later he was inducted into the Rock and Roll Hall of Fame when it was founded in 1986. In 1961 Columbia released King of the Delta Blues Players with Volume Two in 1970. The Complete Recordings a two-disc set, released on August 28, 1990, contains almost everything Johnson recorded, with all 29 recordings, and 12 alternate takes.

Groundhog Day is a meaty, moving and humorous story on stage. A shining Slow Burn Theatre Company/Broward Center for the Performing Arts co-production runs through Feb. 16. An ingenious, symbolic set design are among the strong production values. A talented cast shines in this convincing, vivacious production. The stage musical is based on the 1993 film starring Bill Murray as Phil Connors.

The Williamstown Theatre Festival launches with Streetcar Named Desire starring Audra McDonald on June 30. The season will feature five world premieres.

Manahatta, now at the Yale Rep through Saturday, Feb. 15, offers a great deal to think about. It is getting its east coast premiere, having had its initial production at the Oregon Shakespeare Festival in 2018. Playwright Mary Kathryn Nagle, an enrolled citizen of the Cherokee Nation, is a lawyer, writer and activist.

“Adoption Roulette” is an Actors play. The action takes place on a bare-bones stage with no props or set furniture. The physical movements in the play are mimed, and the actors play multiple roles.

New York critic Edward Rubin remembers Lynn Cohen an actress fondly remembered as the Ukranian maid Magda in the TV series Sex in the City. Ed has often been close with the performers he writes about.

Superb acting, technical work combine to create a compelling production of Samuel Beckett's Happy Days at Thinking Cap Theatre. Veteran south Florida performer Karen Stephens shines in the role of Winnie.

National Sawdust, an artist led Brooklyn group, is a leading incubator of new music. One aspect of their work is an artists-in-residence program. Committed to assisting the creation of music that has impact, artists are encouraged to draw from personal experience and their interpretation of the world. Mrs. Winslow's Soothing Syrup explores the opioid crisis.

BAM is mounting an elegant, moving, hip update of the Medea story, written after Euripides by Simon Stone. Starring Rose Byrne and Bobby Cannavale, the set is a made up of a rectangular screen onto which video images are projected. Often we see the actors in extreme close up. Their miced voices bring them even closer. The backdrop of the stage and two wings which bend in at about 40 degree angles are white. So too the stage floor. It calls attention to the stage action and to the emotional temper of Anna and Lucas, Claire, the new girlfriend, Elspeth the therapist, and Anna's and Lucas’ two children, Edgar, and Gus.

Forever Gentleman, by Roland Colton, has several novel twists. It tells the tale of Nathan Sinclair, an architect and sometimes concert pianist of first-rate talents in both disciplines. When we meet him, he has been introduced into a good woman who deeply attracts him. He vows to settle a debt to a loan broker. He has incurred the debt because a client has been unable to pay up. One thread in the story is a Dickensian tour of Victorian debtor courts and jails in 1869. Colton is able to lead us through this tortuous path with vigorous, clear writing.

This is one short play (85 minutes) that kept me so interested, that I never checked my watch. Overall this production is just as good as the one I saw on Broadway a year ago.

When we spoke in 2000 the arts leader Ted Landsmark was director of the Boston Architectural College. He was on leave as chair of the board of the Institute of Contemporary Art but still serving on the board of the MFA. It was a time of transition and change. The ICA was constructing a new building on the waterfront. Its director, Jill Medvedow, was competing for funding with MFA director, Malcolm Rogers. Landsmark argued that they should be working together

Building Five of MASS MoCA is one of the largest spaces for contemporary art in North America. Since the museum opened in 1999 there has been an annual rotation. The results have been mixed with hits and misses. Curated by Susan Cross, the current installation When by the South African artist Ledelle Moe is on the short list of most astonishing projects. It remains on view in North Adams through September 5.

A vibrant equity production of Hamilton invades Miami The show isn't available for school licensing just yet, but it should give student thespians something to look forward to. This production, running through March 15, was sold out on opening night.

Introductory visual and audio moments originated in climate data released as sound in a work by Kyle Barnes. This prelude was “a sonificaton of data for voice, electronics and video.” Images played on the huge back wall, which often serves as a screen in this special venue. Gentle scales crested and fell, warming us up for an introduction by Elena Park, a curator of National Sawdust +.

What sets this apart are the fine performances. Any chance you get to see Jane Alexander on stage is one to take advantage of and treasure. Her Nancy exudes both steeliness and calmness.

There is no doubt that Gustav Mahler paired the Kindertotenlieder, symphonic poems of Friedrich Rückert and his Symphony No. 5. Seldom are they programmed together. We were given an extraordinary performance of both works in David Geffen Hall. Iván Fischer conducted the Budapest Festival Orchestra.

Palm Beach Dramaworks' production of David Hare's Skylight features terrific performances. Tension emanates from the stage as the character spar on stage. The production continues through March 1.

Between the news and my daily contact with friends in China, the coronavirus is a daily presence in my awareness. I returned from China just shortly before the first cases in Wuhan. My temple is in Hubei Province, and Wuhan is the province's capital city, only about 500 km from the temple. CDC officials tell us it is not a question of if, it is a question of when the virus will spread across the country, notwithstanding the President's assurances last night. My friends all over China have been inside their homes since the first of the month, and will remain there for several weeks to come, it would seem. That may be us someday, too.

“The Pajama Game” opened last weekend in Palm Springs. The musical debuted in 1954 on Broadway, as the Korean War was declared over, and pajamas back then was still considered the choice of men’s sleep-ware. Enduring standards of the vintage musical include “Hey There,” “Steam Heat,” and “Hernando’s Hideaway.”

In 1968 the Institute of Contemporary Art was evicted from Newbury Street. Bag and baggage it was mothballed in its failed former home on Soldier's Field Road. Connected to new Mayor Kevin White and Deputy Mayor, Katky Kane, they gave Andrew C. Hyde a long shot at turning things around. The relaunch largely entailed embracing an emerging generation of artists which formed the Studio Coalition in 1969 and Boston Visual Artists Union in 1970.

The great Enrico Caruso once noted that all you need to make Il Trovatore a success is to cast the four greatest singers in the world. Although the production reveals a couple of minor glitches, the overall effect is so scintillating that the flaws are not worth discussing.

The Tuta Theatre world premiere production of Hedda Gabler: A Play With Live Music is adapted and directed by Jacqueline Stone. The play is set in the early 1890s in Kristiania, now Oslo. The original modern and sometimes punklike music is composed by Wain Parham and played by a three-piece band, led by Parham on keys.

The 70th Berlinale, the huge international film festival in Berlin took place between February 20th and March 1st, 2020. Great expectations were put upon the new festival leaders, Carlo Chatrian (artistic director) and Mariette Rissenbeek (executive director).