‘The Good Woman of Setzuan’ a serious exploration of serious issues that never takes itself too seriously
By Michael O’Connor
Upon entry into the cozy confines of the Loft Theater on the second floor of the Syracuse Stage/Drama Complex, I was immediately struck by the music being lightly played over the loudspeaker…
Redhouse’s ‘Hamlet,’ set in the 1980s, is relevant, engaging — and fun
By Malkiel Choseed
What is the difference between tragedy and comedy? The differences, while meaningful, are not as pronounced as one might think…
The Met’s ‘Werther’ a tasty mix of singing, staging, acting and orchestral splendor
By David Rubin
Massenet’s Werther is a soufflé. If all the ingredients — sets, direction, singing, conducting — are perfectly blended, it will stand up just fine. But if anything is amiss, it will collapse…
CNY Playhouse’s ‘Death of a Salesman’ rings up an impressive sale
By David Abrams
It’s getting increasingly difficult to justify the term “community theater” when describing CNY Playhouse productions.
Borodin’s music triumphs over dramaturgical problems in the Met’s newfangled ‘Prince Igor’
By David Rubin
The eminent musicologist Richard Taruskin has called Alexander Borodin’s opera Prince Igor a “magnificent farrago.”
‘Chinglish’ parlays cultural misunderstandings into a hilarious theatrical experience
But David Henry Hwang’s cross-cultural comedy, smartly set in this Syracuse Stage production, could have been so much more…
By Michael O’Connor
The difficulty in crafting translations extends far beyond merely substituting a word from one language with a corresponding word from another…
