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We begin as the guests at a black debutante ball in New Orleans. White staircase, be-gowned young women, stiffly poised young-men stand on the threshold of their presentation to society. Step by step we see the painstaking bows and courtesies of a society steeped in the mores of color and class that are expressions of the history of that city.

Kosmos Inverse is the world below and the world way out there. We have a powerful feeling of infinity as we are being cast into a carnaval space. The central sphere resmbles a mop. Depending on the lights, it can be colored red and green and purple. Pigs, an elephant who strongly resembles Mo Willems’, two classic rubber dolls, and a busty woman bounce before us.

A day late and a dollar short, NY critic, Edward Rubin, is notorious for blowing off deadlines. By now the September, 2019 14th Annual Tennessee Williams Theater Festival is a faded memory. Arguably a rose pressed between the pages of a book. But here in loving detail Rubin posts a definitively detailed, documentary account of an historic event. It also serves as a preview of what to expect this September. By then, hopefully, the virus will have passed and we will enjoy the last gasp of summer with magnificent theatre and high jinks by the sea.

With a sexy (for the late sixties) ad campaign depicting all four characters in bed, a headline that read “Consider the Possibilities” – some newspapers would not run this ad – and a titillating R-rated story which dealt with infidelity and wife swapping, the movie—the number 5 moneymaking hit of the year—rang up some 31 million dollars at the box office.

An energetic national equity touring production of Mean Girls is playing in Ft. Lauderdale through March 15. Fires rage across the stage as Regina George bulldozes over the meek. The production features strong work from the cast to the technical folks. Mean Girls the Musical is based on the 2004 film of the same name, both written by Tina Fey of Saturday Night Live.

Recently, on Turner Classic Movies, I saw Ingmar Bergman’s iconic 1957 film Seventh Seal. That was before the death of the actor Max Von Sydow or the widening global pandemic. Yet again there is the contrast of art and artifice. Art is a means of navigating the collape of the American Empire in real time and vivid color. When this passes what will be left of our arts, culture and way of life? How will we pick up the pieces of a new order? Will the elections of 2020 be yet another cancellation? Is this Apocalypse Now?

Against a backdrop of black and white, perpetrator and victim, playwright Kate Cortesi offers a provocative and stimulating world premiere play, Love, which humanizes the parties involved and explores the complexities of relationships that many depictions often simplify to the point of distortion.

Metropolis is a Grammy-nominated Ensemble founded by Andrew Cyr, who encourages artists to realize their bliss. The group was not named for the Fritz Lang film, but the temptation to take on this silent great must have been tantalizing. The live, electronic score by Ricardo Romaneiro was brilliant and brilliantly realized by the musicians. Cyr conducts.

On a recent Sunday afternoon, Network for New Music (NNM), an adventuresome Philadelphia group, gathered at The Discovery Center at the Hidden Reservoir in Fairmont Park.. The long pathway to the building’s main entrance leads visitors to a striking view of the center’s reservoir, a pristine, 37-acre body of water that was closed to the public for nearly 50 years. The Center provided a concert hall for music related to ecology.

This evening, part of the Rise Up Year devoted to music that inspires and uplifts, two gentleman, a bass player and a violist, composed pieces celebrating women. Women composers, Missy Mazzoli, Gabriela Lena Frank and Joan Tower were performed with gusto.

These two operas make for a highly entertaining evening. The only false note concerns the orchestra, which was skillful in the comedy on opening night. But especially in the overture and early parts of the tragedy, dissonant tracts sounded more out of tune and out of sync as if the orchestra hadn’t mastered Zemlinsky’s more challenging and unfriendly music. It also overpowered the singers at times.

In 1963 at The Jazz Workshop I heard McCoy Tyner with Trane. It was Trane's only Boston gig. Later Tyner played Lulu White's and we caught him a few back at the Mahaiwe in Great Barrington. His massive attack was much admired by aspiring pianists. He just checked at 81.

Prolific, award-winning American playwright Lynn Nottage, the only female to win two Pulitzer Prizes in drama, is also considered to be one of the most produced playwrights not only in America but across the world. “SWEAT” is an absorbing and profound production that grapples with the issues plaguing most of America’s workforce today.

In Don’t Eat the Mangos, by Ricardo Pérez González, three adult Puerto Rican sisters remain close despite fractious relationships and the different directions their lives have taken. The action centers on clashes that siblings commonly confront in dealing with dying parents and their property. So it is that the sisters argue about how the dirty work of responsibilities are shared.

In or out of drag, whether on stage or page, the 65-year-old actor playwright Charles Busch, with some forty years of show business under his belt, is a force to be reckoned with.

Dai Fujikura lives in the quotidian and draws from it for the music he creates. We hear a portrait of his daughter in the first month of her life, a secret forest where all the sounds are beautiful, and memories of high school friends who were all wannabe guitarists.

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).

A new exhibit at the Barnes Foundation in Philadelphia features the collection of Marie Cuttoli, an entrepreneur who convinced many of the artists of her time to create designs for her the workshops, first in her own design studio in Paris and then for the tapestry weavers of of Aubusson, France.

Jane Eyre, just like Elizabeth Bennett in Jane Austin’s Pride & Prejudice, understands society’s preconceived notions about a woman’s role and a woman’s manner, and rejects them wholeheartedly.

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.

Franz Welser-Möst leads what is arguably the best orchestra in the United States, the Cleveland. His mastery of Richard Strauss' music is well-known. He began the program with the US premiere of Babylon Suite by Jörg Widmann, composer in residence at Carnegie Hall this year.

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.

Irina Knaster founded the Aspect Chamber Music series to provide an enriched communal atmosphere for the performance of music. Concertgoers are invited to come early and drink wine and chat before the concert and during the intermission. Knaster fills the halls at the Bohemian National Center and Columbia's Italian Academy, two beautiful settings. She featured Grace Park and Gilles Vonsattel performing Debussy and Chausson.

Beauty and the Beast is enchanting, playful, funny and magical at the Lauderhill Performing Arts Center. The classic Disney musical is timely with messages about tolerance and treating everyone with respect. The show is visual delight, but it also teaches people not to judge people based solely on their external appearances. The production, which is strong despite obviously fake fight scenes, runs through March 8.

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.