About 400 elementary- and middle-school students taking part in the Shenendehowa Inventors program will display their inventions at the former Cotton Market store at Clifton Park Center from 10 a.m. to 4 p.m. Saturday.
On Saturday night at the Experimental Media and Performing Arts Center at Rensselaer Polytechnic Institute, the stage was packed with people — not performers, but spectators. Audience members were encouraged to lay flat on the floor (padding was provided) to watch the unfolding of Rodrigo Pardo’s “Flat.”
In handling nine vignettes in "The Ives Have It," Schenectady Civic Players' cast of six is notable for its ability to start from scratch every 10 minutes or so, find the arc of the scene and deliver the goods.
For more than a decade, New York Theatre Ballet has made an annual jaunt to The Egg to entertain children with condensed versions of classical ballets.
In her preface to the script of “The Sisters Rosensweig,” Wendy Wasserstein acknowledges the influences of Chekhov, Kaufman and Hart, and Noel Coward: witty repartee, self-dramatizing by quirky characters, and a delicious tension between silliness and sorrow. Director Michael Bush’s pacing of the superb production at Capital Rep gets all of Wasserstein’s nuanced takes on late 20th century life, especially the lives of women.
If any of you out there have been wary of this show because it reeked of something better suited for a theme park or the Ice Capades, I bring glad tidings — “Shrek the Musical” is pretty darn fine and is a very entertaining piece of theater.
It is hard to believe that it has been 20 years since Ellen Sinopoli Dance Company took its first bow at The Egg. Yet on Friday night, Artistic Director Ellen Sinopoli and her small band of six dancers celebrated that fact with two world premieres
Sometimes you pray for a witty, provocative and insightful evening of theater to make the effort of donning the woolens worthwhile. Sometimes prayers get answered, as with Curtain Call’s latest production, Geoffrey Naufft’s “Next Fall,” a modern play about love and faith.
Of all of his ballets, Tchaikovsky cherished most “The Sleeping Beauty.” And on Sunday afternoon at Proctors, audiences did too as Moscow Festival Ballet’s offered a sparkling rendering of the classic.
As a teacher of drama, I sometimes find it difficult to get off my academic high-horse and separate the elements of a play and ask myself if a play I’m seeing is a really good show. Does the production cohere? Does it grab the audience? Does it, above all, entertain? This past season left nothing to be desired. At left, Joan Justice plays Grace in Albany Civic Theater’s production of “Faith Healer.”
"Elvis Has Left the Building" is no brainteaser, just a rib-tickler. Everybody gets to do a little physical shtick, both naughty and nice, and the lines fly out of everyone’s mouth as fast as Santa goes up the chimney.
The greatest praise for Home Made Theater’s “The Lion, the Witch and the Wardrobe” came from two chatty moppets sitting in the row directly in front of me. As the show opened, they stopped chatting and remained what could only be described as enchanted till the end.
I didn’t leap to my feet, as some members of the audience did at the opening night of “A Wonderful Life” at Cohoes Music Hall, but I had a good time anyway.
When it comes to regional productions of “The Nutcracker,” there are a myriad from which to choose. But few, if any, are any better than Albany Berkshire Ballet’s.
I wasn’t surprised that the talented forces at SLOC made “Aida” a pleasant experience on Sunday afternoon. Director Michael C. Mensching, producer Michael McDermott (with Joanne Dame Peal), and actors Dashira Cortes, Nick Abounader and Brandon Jones had all proven their mettle in previous Capital Region shows. But I was completely captivated by Maggie Ecker, a new face at SLOC, who took the measure of the role of Amneris.
