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In the Shadow of Memory: “Remembrance” at Theater for the New City
Off Broadway
Edward A Kliszus, Editor-in-Chief / Music and Arts Critic

In the Shadow of Memory: “Remembrance” at Theater for the New City

A particular alchemy exists within the confines of a black box theater, where the absence of spectacle forces an audience into direct communion with raw human truth. At Theater for the New City, Patricia Goodson’s “Remembrance” harnesses this intimate power to devastating effect. The production eschews theatrical artifice in favor of something far more precious: authentic emotional resonance. Indeed, this stark examination of caregiving amidst the cruel progression of Alzheimer’s disease offers audiences an experience that is at once harrowing and strangely affirming.

Edward A Kliszus, Editor-in-Chief / Music and Arts Critic
SurRound II: Divine Sonic Tapestry at St. John the Divine
Choral Music
Edward A Kliszus, Editor-in-Chief / Music and Arts Critic

SurRound II: Divine Sonic Tapestry at St. John the Divine

In the vast, resonant expanse of the Cathedral of St. John the Divine, Musica Sacra, under the inspired direction of Kent Tritle, delivered a SurRound II concert of such ethereal

Edward A Kliszus, Editor-in-Chief / Music and Arts Critic
Leonkoro String Quartet: Sublime Brilliance at the 92nd Street Y
Chamber Music
Edward A Kliszus, Editor-in-Chief / Music and Arts Critic

Leonkoro String Quartet: Sublime Brilliance at the 92nd Street Y

The Leonkoro String Quartet delivered a performance of breathtaking virtuosity and emotional depth, suspending time as they traversed three centuries of chamber music with astonishing precision and interpretive maturity that far exceeded their years as an ensemble.

Edward A Kliszus, Editor-in-Chief / Music and Arts Critic
High Octane Octet: The ACO at Weill Recital Hall
Chamber Music
Edward A Kliszus, Editor-in-Chief / Music and Arts Critic

High Octane Octet: The ACO at Weill Recital Hall

The High Octane Octet program, presented on March 28, combined remarkable musicianship with period-authentic instruments to create an evening of rare musical splendor. This milestone celebration showcased why ACO remains one of America’s most vital classical ensembles.

Edward A Kliszus, Editor-in-Chief / Music and Arts Critic
Tapping into the Twenties: The ASO and Forgotten Marvels at David Geffen Hall
Music
Edward A Kliszus, Editor-in-Chief / Music and Arts Critic

Tapping into the Twenties: The ASO and Forgotten Marvels at David Geffen Hall

This concert was no costume party of musical nostalgia. The American Symphony Orchestra, under the inspired baton of Leon Botstein, offered something far more nourishing: a sweeping, intelligent, and emotionally resonant exploration of rarely performed masterworks in a program aptly titled Tapping into the Twenties.

Edward A Kliszus, Editor-in-Chief / Music and Arts Critic
Gabrielle Stravelli at Birdland Jazz Club NYC
Cabaret
Edward A Kliszus, Editor-in-Chief / Music and Arts Critic

Gabrielle Stravelli at Birdland Jazz Club NYC

Jazz vocalist Gabrielle Stravelli has always carried the torch of the American Songbook with elegance and an unmistakable voice that sparkles with charm, authenticity, and life. At her recent performance at Birdland Jazz Club, Stravelli did far more than entertain—she enraptured. With a keen sense of drama, humor, and a voice that could melt or invigorate, she delivered a vocal jazz performance that reminded us why live music remains irreplaceable.

Edward A Kliszus, Editor-in-Chief / Music and Arts Critic
Above Ground – Not Exactly a Comedy at La Mama
Off Broadway
Edward A Kliszus, Editor-in-Chief / Music and Arts Critic

Above Ground – Not Exactly a Comedy at La Mama

As a gentle, meditative melody plays, ten senior actors stand motionless, facing the audience. The silence is weighty yet peaceful, inviting the audience to enter the world of Above Ground – Not Exactly a Comedy with a contemplative stillness. Above the stage, a large screen mirrors the image of the cast, reflecting them as they are—no embellishments, no illusions. It is a powerful prologue, setting the tone for a production that embraces authenticity, memory, and the undeniable passage of time.

Edward A Kliszus, Editor-in-Chief / Music and Arts Critic
Touch at The Tank
Off Broadway
Holli Harms

Touch at The Tank

Set in Del Ray, Florida, Touch, written by Lori Goodman, is a play about lifting oneself and moving on. About what it’s like to date at a mature age when the pickings are limited and those that are available are so set in their ways. Touch introduces us to Betty (Carole Forman), a widow whose son, Jim (Alex Brightwell), also living in Florida, is her main friend and companion. Jim is doing all he can for his mother and trying not to go crazy with daily calls and repetitive conversations. Bob (Willie C. Carpenter), a widower living in the same community, lost his wife and met Maureen (June Ballinger ) at the local grocery store.

Holli Harms
Reinventing the Classical Music Experience: The Park Avenue Chamber Symphony at 25
Behind the Scenes
Edward A Kliszus, Editor-in-Chief / Music and Arts Critic

Reinventing the Classical Music Experience: The Park Avenue Chamber Symphony at 25

Hearing a symphony orchestra from a distance is one thing, usually from a seat in the audience below the stage. It is entirely different when you are inside the orchestra—to feel the strings’ vibrations, witness the intense communication between musicians, and experience the energy of the music from within. This was a revelation for me, even as someone deeply embedded in the musical world.

Edward A Kliszus, Editor-in-Chief / Music and Arts Critic
Curse of the Starving Class
Off Broadway
Tulis McCall

Curse of the Starving Class

Full disclosure – I am not very very very familiar with Sam Shepard’s work. Or I have forgotten what little I knew. I do remember seeing “True West” several times after it was filmed. I did see “A Lie of the Mind” back in the 1980s.

Tulis McCall
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In the Shadow of Memory: “Remembrance” at Theater for the New City

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