Martin Bell

The Bath Festival today announces its 2022 line-up which is full of innovation and 'you saw it here first' moments. This world-renowned festival celebrating books and music in a beautiful city will run from Friday 13 May to Saturday 21 May 2022.

San Francisco’s 42nd Street Moon is presenting A LITTLE NIGHT MUSIC at the Gateway Theatre (215 Jackson Street, San Francisco, CA 94111) from November 4 – 21, 2021 with an Opening Night on Saturday, November 6, 2021 at 6:00 p.m.

BroadwayWorld talks to leading lady Alison Ewing about playing Desiree in 42nd Street Moon's new production of Stephen Sondheim's 'A Little Night Music' playing November 4 to 21 in San Francisco.

San Francisco’s 42nd Street Moon has announced the complete cast and creative team for the Company’s 2021-2022 season opener, the Tony Award®-winning “Best Musical” A LITTLE NIGHT MUSIC.

San Francisco's 42nd Street Moon has announced the complete cast and creative team for the Company's 2021-2022 season opener, the Tony Award-winning “Best Musical” A LITTLE NIGHT MUSIC. A LITTLE NIGHT MUSIC features a book by Hugh Wheeler, music and lyrics by Stephen Sondheim, and is suggested by Ingmar Bergman's film Smiles of a Summer Night.

San Francisco’s 42nd Street Moon has announced the complete cast and creative team for the Company’s 2021-2022 season opener, the Tony Award®-winning “Best Musical” A LITTLE NIGHT MUSIC. 

A new version of Anton Chekhov's The Cherry Orchard premieres in June at the Chippen Street Theatre.

Write Out Loud - an organization founded in 2007 with a commitment to inspire, challenge and entertain by reading short stories aloud for a live audience announces THE GIVING SEASON the third production in Season XII on Monday, December 17th at the Old Town Theatre. Write Out Loud Story Concerts bring literature to life - aloud - with rehearsed readings by professional actors. Each program explores specific themes by weaving a variety of stories, poems, and sometimes music, together into a literary tapestry. A pre-show reception starts at 6:15pm with a 7:00pm curtain.

Professor Michael Chovan-Dalton, coordinator of the Photography and Digital Imaging program at Mercer County Community College (MCCC), is as busy in his time off campus as he is in the classroom. Chovan-Dalton is the creator of thePhotoShow, a podcast he co-hosts with Kai McBride, a photo professor and manager of photography facilities at the School of the Arts at Columbia University.

An audience member sitting by me at the Gamm's performance of Morality Play mentioned that one of the reasons she loves the company is their penchant for putting on plays that are daring, challenging and different. They do not just do the same old thing, she said, and she's absolutely correct. It is one of the characteristics of the Gamm that make it stand out among the theatrical crowd, that they take on plays that are more unique or risky than other companies might dare to produce. Morality Play is, arguably, a bit of a risk. While successful at being something unique, it is not as successful at being an entertaining, compelling or enjoyable piece of theater. Based on a novel of the same name, by Barry Unsworth, Morality Play is adapted for the stage by the Gamm's Tony Estrella. The story revolves around a roving troupe of actors, traveling the harsh English countryside in the winter of 1361. This gang of thespians are among the earliest practitioners of theater, actors who performed morality plays, one of the three major types of drama in the Middle Ages (the other two being miracle plays and mystery plays). In morality plays, a figure representing the common man, often called something like Everyman, is tempted by the personification of qualities such as Vice, Avarice or Lust, but is then saved by the appearance of, for example, Truth, Faith or Conscience. In the case of this play, our actors have just suffered the death of one of their company. Almost immediately, they meet a runaway priest who they allow to join them as a player, to take on the roles of the dead actor. Shortly thereafter, the troupe, very short on funds, arrives at a town where they will perform one of their morality plays. After that play fizzles, they decide to perform a new kind of play, one based on an actual real-life event, a true crime that has just occurred, the murder of a young boy. While doing so, they begin to solve the crime and put their own lives in jeopardy. If that sounds like an interesting idea, actors solving a crime using their powers of performance, it truly is. Unfortunately, this play is more of a collection of interesting ideas and concepts than an engaging piece of theater. Much of the play's early going feels like the Theater History 101 class that every theater major takes in college. It's as if the professor said, “Come up with a morality play and put it on for the class, just how the actors of the time would have.” And I'm willing to give Estrella and director Tyler Dobrowsky the benefit of the doubt that they have accurately recreated the feeling of the times and created an accurate and true recreation of the drama of the Middle Ages. Still, most of it is fascinating but boring and uninspired, not likely to excite many audience members, other than those who took that class in college. After getting through all of the “this is what theater was like in the 1300's” stuff (and it takes a long time), we finally reach the play's central story, the true-crime murder mystery. Unfortunately, this part of the play just demonstrates how many times we've seen all of this before. It quickly becomes an episode of C.S.I.: Broadway, with actors, instead of scientists, running around investigating and solving the crime. And in the third act, there are enough twists and turns to fill a season's worth of Law & Order episodes, with everything from corrupt heads of state to pedophiles and mysterious diseases. Yes, I realize that part of the point is that things that happened way back then are still relevant today, but in this case, they just make for a dull, predictable mystery, rather than an exciting and compelling story. One reason why it's not compelling is that we never really get to know any of these characters, not well enough to really connect with or care about them. The runaway priest, Nicholas Barber, is given a bit of backstory here and there, but not enough (he also may suffer from the fact that he is no longer the central character and narrator of the story, as he is in the novel). The “master player,” Martin Bell, also has some hints thrown his way about a possible checkered past, but not enough is provided to really make us feel for him. The other players are almost nameless and mostly interchangeable. Most of the rest of the characters, the King's Justice, for example, are just stereotypes, given no depth whatsoever, as they are only there to further the plot. Not helping is the actors milling about before the show, interacting with the audience as themselves, not in character, as far as I can tell. It adds to the feeling that we are watching Providence actors giving us a demonstration of early drama, not watching real, developed and believable people who lived at that time. Having said that, the Gamm has assembled an all-star team of some of the area's best acting talent. The dashing and charismatic Jesse Hinson makes his Gamm debut as the priest, Nicholas Barber. Hinson is masterful in the role and provides a number of the play's highlights, from his scene with the accused woman's father to another scene with the acting troupe's “whore,” who is about to get out before it's too late. Hinson makes every moment count and is impossible to not watch when he's in a scene. On the other end of the “who is the protagonist?” tug-of-war is Martin Bell, played by Tony Estrella. Bell is the leader of the troupe of actors, their motivator and moral compass, or at least he tries to be. Estrella, as usual, plays all of the nuances with skill and dexterity. At times, he is the seeker of truth and justice, and at other seems like a bit of a snake-oil salesman. It's a balancing act that he's able to pull off better than most. Our travelling troupe of performers are played by an excellent ensemble, all giving fine performances, even if they aren't ever given the chance or reason to dig very deep emotionally. Steve Kidd is a standout as Stephen, as is Elliot Peters as Springer. Jed Hancock Brainerd is also wonderful, though given a bit less to do. All three shine especially bright during the scenes when the troupe puts on their plays, from the biblical story of Adam to the true-crime tale of murder. All of the movement and physical action in those scenes is especially interesting and partly due, I assume, to Normand Beauregard, who plays one of the actors, Tobias, but is also one of the area's best fight choreographers. In what seems at times like a cast of thousands, a number of other actors appear and vanish. The wonderful Jeanine Kane, as the Innkeeper and wearing a hat she stole from Pharrell Williams, is mostly wasted. Jim O'Brien also gets little to do but does give a brilliant turn in one scene as the weaver, the father of the accused woman. And that woman herself, who is deaf and mute, is played by Clara Weishahn, providing one of the show's best performances. Her scene with Estrella, where they communicate without words, is beautiful and mesmerizing. It's unfortunate that the rest of play could not be as spellbinding or entertaining as that one scene. Instead, it relies of far too much speechifying and talking a lot about big ideas. Much of it is also heavy handed, as if they really want to make sure the audience gets the message, loud and clear. There are certainly some interesting themes and messages for the audience to ponder as they leave the theater, but the rest of the production may leave them cold and wanting more.

Theatre francais de Toronto has the perfect fall getaway in store for its public with Le chant de Georges Boivin (Georges Boivin's Swan Song) by Martin Bellemare. Directed by Mario Borges and starring the legendary Pierre Collin, this theatrical "road movie" love song will be presented at the Berkeley Street Theatre from November 26 to 30.

The Cole Porter Society is pleased to present COLE PORTER IN PARIS: THE LOST SONGS, featuring the West Coast Premiere of La Revue Des Ambassadeurs, a newly unearthed thought to be lost production of Cole Porter in Paris in 1928, performed by Cole Porter Society founder and entertainer, Noah Griffin along with an incredible ensemble of Bay Area musicians and performers.