here are two types of people in the world; those that have been to Moulin Rouge, the club in Paris now in its 133rd year, and the rest of us. Then there are those who have been to the Moulin Rouge recreated on Broadway at the Al Hirschfeld Theater, and that is a spectacle not to be missed.
Today the audience was treated to a series of works spanning from the Renaissance to modern musical theater. An affable Ming Gao eloquently introduced each piece, describing its characteristics, features, and biographical context. He also drew amusing attention to things like the foot-long clothespins used to keep music safely on music stands, a necessary prop for breezy outdoor venues.
Into the Breeches opens the story at the Providence Oberon Theater which is quiet and gloomy and where Maggie Dalton believes she can assemble women to perform Shakespeare’s male leads.
Maestro Ponti said “The time between the notes is at times more important than the notes and representative colors themselves. It is not always about the melody.”He continued, “Sometimes what we don’t hear what makes the piece…I remember when my parents were silent, it could be very loud.”
To provide the audience with unique insights into the upcoming concert presented by the Punta Gorda Symphony, Music Director Raffaele Livio Ponti held a thought-provoking,
For some good old-fashioned family fun, you can board a train and travel back in time comfortably seated in a quaint dining car. Riding along the Caloosahatchee River, all the world is indeed a stage.
We are in an upscale stereotypical baby-boomer Florida retirement condo with plush furniture, a well-stocked open kitchen with counter seating, wall décor with beach themes, and light gray walls with white trim and crown molding.
Lili Taylor, the unnamed actor in the play “The Fever,” runs down the aisle and jumps on the stage to begin her 90-minute monologue (rant) and exhibits the only excitement the audience experiences; the play could use some fieriness.