This morning I had the pleasure to hear and meet Mr. Wesley Ray Thomas, The Opera Guy, at Alewife station. He was singing some lovely arias and it appeared he had been doing so since early in the morning. His commitment is exemplary.
He is a perfect example of seeking performance at every opportunity. He was at Alewife at 8:30AM on a FRIDAY singing the crap out of a Verdi aria. The aria was semi-staged, beautifully sung and, equally as important, this busker was making dough rise out of his pockets. Ladies and gentlemen, put this man in your shows.
Opera isn’t everybody’s thing. It doesn’t have to be to appreciate the fine art of performance and a dedication to craft.
Keep on rocking on, Mr. Thomas.
Wesley Thomas singing Jago’s Creed: “I believe in a Cruel God” from Verdi’s Opera “Otello” from Lowell House Opera’s 2009 production. Channing Wu conducts.
The Opera Guy busking on the Prado in Boston’s Historic North End. Sung in the original Baritone key.
Ladies and Gentlemen, we have landed in Denmark. To your left you will see Elsinore Castle. To your right is the MI6 Headquarters. Enjoy your stay!
From Denmark With Love opens tonight!
We hope to see you this weekend or sometime soon. In the meantime: Check out a preview article about us in the Boston Metro! Check out the same on WBUR! Get your copy of THE ALBUM: 11 original James Bond theme songs by local Boston Bands! (SHAMELESS PLUG: featuring Queen Geek Kitty Drexel)
(Watertown) The story goes that an earnest young monk once asked a Zen master to describe the immaculate nature of the Buddha. The Zen Master, most likely with an insufferable grin on his face, pointed to a pile of dung.
This sums up the life of Antonio Salieri (Benjamin Evett) in the spirited production of Amadeus being staged at the Arsenal Center for the Arts. Salieri, an accomplished composer who writes operas for Hapsburg monarchs, dedicates his life to capture the music of God. Instead, he discovers his own private dung heap in the form of a foul-mouthed former child prodigy named Wolfgang Amadeus Mozart (Tim Spears). Salieri is crushed to learn that Mozart, a drunk, womanizing jerk, has a much clearer channel to God’s radio station and can compose the most beautiful music the world has ever known, even while playing billiards. It drives the devout Italian composer to lose both his faith and his scruples. Continue reading →
(Lowell) If you want to see inside the male workplace psyche, you must see the new Merrimack Repertory Theatre production of Glengarry Glen Ross, but I warn you: it’s not a pretty picture. It’s every man for himself and there is no mercy in David Mamet’s brutal examination of greed. Continue reading →
Rich scene painting, solid theatre. Bravi tutti! PHOTO CREDIT – Richard Termine
My sincere apologies to the cast and crew of Siti Company and ArtsEmerson. This review is late because of the traumatic events of Friday, April 19. In my own personal turmoil, I was unable to write your review. I humbly beg your pardon!
presented by ArtsEmerson
adapted by Jocelyn Clarke from Trojan Women (After Euripides)
directed by Anne Bogart
created and performed by Siti Company
Original music composed and performed by the insanely talented Christian Frederickson
(Boston) The bodies of women are the casualties of wars. Even today in places such as The (Republic of) Congo, Uganda, Afghanistan, Syria, Steubenville and even late night in Harvard Square, women are held responsible for the violent decisions of men eager to wield their entitlement in public arenas. There is a political war in The Congo and every Spring there is a war against women on the streets. In any situation, women are blamed for the violence. Excuses range from acting in ways unbefitting a lady or luring men with our bodies. In reality, it is the perpetrators who are to blame. Rape, like other acts of violence, is never about sexuality; it is always about power. In Siti Company’s production of Trojan Women, this is still true. Continue reading →
Directed by Charles Towers
Listing by Craig Idlebrook
Greed may not be good, as fictional stockbroker Gordon Gekko once famously espoused, but it never goes out of style.
In the 1987 film Wall Street, Gekko’s ode to greed was devastating to hear for Americans who had just suffered through insider trading and junk bond scandals. The late eighties also produced Glengarry Glen Ross, a razor-sharp play by David Mamet which examines greed on the micro-level, as bottom-feeding real estate agents in Buffalo lie, cheat and steal to sell tracts of land in Florida. While focusing on everyday financial crimes, Mamet creates an allegory for Wall Street greed that resonated with Main Street theatergoers in the late eighties. Continue reading →
(Lowell) For a play that focuses on mathematics, Proof, playing at the Merrimack Repertory Theatre, nails social theory. In this thoughtful production, we learn that a family is really a group organism that can adapt to having a limb injured or severed, but that organism can never be the same afterwards. Continue reading →