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The Clark Art Institute will air the complete 2019–20 season of ten live performances from The Metropolitan Opera, held on select Saturdays beginning in October 12 and concluding in May 2020, in high definition from the Clark’s state-of-the-art auditorium. A special holiday encore presentation of The Magic Flute will be held on Sunday, December 8.

From 4:20 PM to an exit at 5:45 PM country music star Reba McEntire laid down a vapor trail of a jet charged fifteen tunes. It was the final performance of a record setting 2019 Tanglewood season.

Eagerly awaited, but somewhat disappointing, could be the short assessment of the 31st International Dance Festival 'Tanz im August' in Berlin, a performance marathon. The sold out festival drew18,000 visitors. This is a must read for all dance enthusiasts!

Special concerts do not happen too often in one's lifetime. Fortunately, the double bill of Ben Harper and The Innocent Criminals paired with Trombone Shorty and Orleans Avenue, fit the bill as one of the most exciting musical shows that I have witnessed.

One weakness in the storyline of Annie Baker's The Flick is the playwright’s inability to edit down from a three-hour running time to a length reasonable for the topic matter. Like many contemporary movie directors, she seems unable to abandon story elements that may stand well on their own but dilute the overall effect. One tract that is an unnecessary waste of 10 or 15 minutes is the opening scene. Not only does it bore to tears, but it takes some time for the audience to put that experience behind them and hope that things will get better. Fortunately, they do.

Chris Difford and Glenn Tilbrook are treated like royalty. They are often referred to as prolific composers like Lennon & McCartney. They have been working together for forty years-churning out hit after hit. Their genius was shared with a jubilent and dancing in the aisles audience at Tanglewood.

It was a soulful night of nostalgia at Tanglewood. The Spinners went on at 7 and cooked. We needed the heat on a cool wet night. In ever sense they warmed up the audience for Gladys Knight. There was a long intermission before she went on at ten of nine and by 10:25 after some 20 songs we made our way home.

Where can you see the story of a barely-sentient being that promises everyone whatever they want but ends up eating them alive? No! Not on the nightly news- It’s The Lyric Stage Company of Boston’s revival of “Little Shop of Horrors” which is being staged through October 6 at 140 Clarendon Street in Boston’s Back Bay.

Sea Wall/A Life, two-one act plays now at the Hudson Theater in New York City through Sept. 29 takes you on an emotional roller coaster. In part, this is due to the spectacular performances by Tom Sturridge and Jake Gyllenhaal.

Gershwin Alone by Hershey Felder has been performed on Broadway and toured globally. Too briefly this remarkable musical seance is at the Colonial Theatre in Pittsfield. Felder is actor/ entertainer, musicologist and biographer switching from schtick to instructive. With a "that's not all folks" surprise the ninety minute performance was followed by an eclectic engagement with the audience. That included a couple of sing alongs from The Great American Songbook.

Dell’Arte Opera Ensemble, always venturesome, presented an evening in which three female composers were featured Franz Liszt had said that in Pauline Viardot the world had finally found a woman composer of genius. Her short opera Cendrillon was performed in full.

Directed by Regge Life Shakespeare & Company is presenting a riveting, superbly acted production of Topdog/Underdog by Susan-Lori Parks In 2002, Parks received the Pulitzer Prize for Drama and the Outer Critics Circle Award for the play. The actors Booth (Deaon Griffin-Pressley), and Lincoln (Bryce Michael-Wood) give astonishing performances. This is on the short list of best dramas of the 2019 Berkshire season.

In an age of sweeping movement toward gender equity, Danish composer Poul Ruders has surprisingly drawn on a Grimm fairytale as a source for female heroics and female enabling. The result is a fable for adults – a taut and riveting opera, yet one that begs for more. Santa Fe Opera’s world premiere of The Thirteenth Child offers stunning production values that enhance the score and yield an engaging musical drama.

Barry Edelstein, the Old Globe Theatre’s Erna Finci Viterbi Artistic Director, is not only a recognized scholar of the Shakespearean canon, He’s also the author of “Thinking Shakespeare” a book that has become the standard text on American Shakespeare Acting in universities and academies across America. Who better, then, than Edelstein to direct the Bard’s famous and tragic story of star crossed lovers, “Romeo and Juliet,.”

The Erich Maria Remarque novel All Quiet on the Western Front is a literary masterpiece. Perhaps yuu have read it or seen the classic 1930 film. One likely comes to this stunning stage production with many preconceptions. This galvanic production at Red Tape Theatre more than adequately meets out expectations.

New City Players' dark and creepy Macbeth taps into the zeitgeist. This production in South Florida isn't perfect, but features admirable acting and vivid, foreboding sound effects. Ft. Lauderdale-based company's mounting runs through Sept. 1 in that city's downtown. For the most part, darkness shrouds the extremely intimate playing space, which offers a visceral theatrical experience.

Many operas have suffered a rocky road to recognition and appreciation, The Pearl Fishers, among them. Yet when one considers its virtues, it is hard to understand why. Santa Fe Opera presented a rare and much appreciated production.

TIME:SPANS is a Contemporary Music Festival presented by the Earle Brown Music Foundation Charitable Trust at the DiMenna Center in New York. The Nikel Ensemble was featured in the first half of the Festival. Nothing daunts them. Wearing long extensions on their fingers, they kept the beat to Simon Løffler's music which accompanied a Peter Tscherkassky adaptation of The Entity, a classic psychological horror film.

Bill Riley wears a number of hats. He is showing this month at Real Eyes the top notch gallery he runs in Adams. Mass, Now retired his day gig for many years was as a scene painter for the Metrpolitan Opera. Recently he has been free lancing for the hit Amazon comedy series The Marvelous Mrs. Maisel. He has the skill set to be a master forger to create works and sets in any medium or style. Many of these technical skills are applied to the works in the exhibition Interrupted Landscapes.

In their summer home at La Mama in New York, dell'Arte Opera is presenting the first opera composed by a woman, Francesca Caccini. The composer understands the power of women well. She also portrays the power of evil in women. An exciting performance by a stellar cast of young artists accompanied by a small ensemble featuring lutes was conducted by Charles Weaver.

With the exception of a little light relief in the wedding preparation, Jenufa is tense and emotionally charged from beginning to end. Janácek endows his lead characters with complexity and with demanding vocals. In keeping with the tone of the action, much of the vocalization is harsh, yet particularly in the orchestra, appealing passages emerge. Overall, the score fulfills many demands with great success.

The structure of Kathleen Clark's world premiere comedy What We May Be, at Berkshire Theatre Group, is a play within a play. Actually, four plays within a play. That makes for a hard to follow , count them, five plays. It's confusing and not particularly funny. The writing of Clark and misdirection of Gregg Edelman squander generally fine performances by a terrific cast.

The greatest modernist dancer and choreographer of her generation, Martha Graham (1894-1991), had a long and unique connection to Jacob’s Pillow. This week the company she founded in 1926 is making its fifth posthumous appearance in the Berkshires. The program combines old and new, her own work and that of other women choreographers.

Alone and in duo, Ross and KT perform some two dozen Noel Coward songs, read a number of letters and first night theater opening telegrams (remember those days) both written by and received from his fans, famous friends, and yes, you might have guessed it, letters both to and from his mother.

Juke box musicals with butkis for plots have become the norm. Kudos to Barrington Stage for its world premiere Fall Springs which actually has a compelling book. But fracking, the musical, oh my goodness! While it has entertaining moments this creation by Peter Sinn Nachtrieb and Niko Tsakalakos is a whacky long shot. It's more than just a town that sinks in the sludge.