Perry Tannenbaum - Page 4

Charlotte Symphony's celebration of Italy with music by Berio, Berlioz, Paganini, and Mendelssohn's ITALIAN SYMPHONY actually peaked with Paganini's Violin Concerto No. 1, thanks to the spectacular virtuosity of Sergej Krylov.

After we're rid of the obligatory 'Memory,'CP's fond farewall to Pease Auditorium, THE MUSIC OF THE NIGHT, is a lot of fun - but not a lot of music,

A less-than-imperial Tracy Lord picks up strength, energy, and enlightenment as THE PHILADELPHIA STORY chugs along at Theatre Charlotte, cresting in time for an affecting epiphany.

While nobody onstage reminded us exactly what we were celebrating, Charlotte Symphony's MUSIC FOR A ROYAL CELEBRATION, commemorating the Queen City's 250th anniversary, was a concert fit for a king.

With a company that mostly outclassed the replacement cast I saw on Broadway, the HAMILTON tour not only set off a ticketbuying frenzy across Charlotte, it fulfilled theatergoers' wildest expectations.

With three sailors on shore leave, a carnival of fantastics seeking to console a disconsolate janitor, and the oddest choreography for Bellini's 'Casta Diva' you'll ever see, FALL WORKS launched Charlotte Ballet's 2018-19 season with wit and style.

Charlotte Symphony has kicked off its 2018-19 season with an all-Beethoven program highlighted by the FIFTH SYMPHONY and a guest turn by pianist Garrick Ohlsson, adding an extra performance to meet anticipated. They're also meeting great expectations

At times BECKET looms before us like a vast Shakespearean tapestry and at others like a bloated two-hander, but this CPCC Theatre production plays well at Halton Theater, which is really good news as Pease Auditorium bites the dust.

MATILDA may be losing some of its appeal as a children's story, especially when Children's Theatre of Charlotte makes it more realistic than the national tour that came to town just two years ago.

Symphony's OPENING NIGHT GALA, spotlighting violinist Joshua Bell, boded well for the 2018-19 season to come and the orchestra's celebration of Charlotte's 250th anniversary.

Your knees won't buckle when you enter Belk Theater to see LOVE NEVER DIES, Anthony Lloyd Webber's long-awaited sequel to The Phantom of the Opera. There's no gleaming chandelier looming ominously over ticketholders in the front rows, nor will you see any nooks or gargoyles spanning the stage proscenium. Until the curtain rose, about the only aspect of the new Lloyd Webber melodrama that reminded me of its predecessor on opening night was the size of the crowd who had come to see it. A near sellout - not too shabby for a musical that has never played on Broadway.

Theatre Charlotte's PETER AND THE STARCATCHER was more enjoyable to me than either the Broadway or the touring versions - partly because I've finally discarded the expectation that the Peter Pan prequel would deliver on Neverland's enchantment.

Brand New Sheriff's production of ECLIPSED reaffirms that Danai Gurira is a force to be reckoned with as a playwright as well as a Marvel Universe action hero.

As Disney's megahit reaches its 21st Broadway birthday, we're not asking each other anymore if you've seen THE LION KING. Instead we're apt to ask how many times you've seen this unparalleled spectacle or, more nostalgically, 'Do you remember your first time?'

Laura Eason isn't misleading or overpromising with her title, SEX WITH STRANGERS, but it's a pleasant surprise to encounter as much brains as body heat

Cirque du Soleil has been on a bumpy road in recent years with such dubious spectacles as Delirium and Paramour, but they've regained their zany, surreal, and mesmerizing swagger - and how! - with CORTEO, a smashing epic triumph.

Some of the jests of THE BOOK OF MORMON are starting to show some wear, but the buffoonery, vulgarity, and bold tastelessness still satisfy, and the dance ensemble on this third Charlotte go-round - along with Casey Nicholaw's choreography seem more brilliant than ever.

Choreography isn't as eye-popping in CPCC Summer Theatre's NEWSIES as the Broadway version was, but the hero's role and all the colorful elders are performed on the same lofty level as the impressive set design.

Who is or isn't prejudiced or racist is part of the cargo in Branden Jacob-Jenkins' APPROPRIATE, but the playwright also dissects what makes families tick and malfunction.

It takes decades for tragic losses and separations to turn around to bliss in Steve Martin's BRIGHT STAR, but there's plenty of sparkling bluegrass music along that rocky mountain road.