There’s trouble lurking behind closed doors of the convent.
Tipping Point Theatre’s production of Ivan Menchell’s “The Cemetery Club” features a leading ensemble that has that chemistry down; what they lack is a script that feels like more than an occasionally funny, warmed-over sitcom.
MOT, even in the toughest of financial times, continues to produce singular opera, beautifully cast, a dynamic orchestra and one of the best choruses one could ask for – at the top of Michigan’s cultural pyramid.
“Avenue Q” is a counter-cultural poke at its inspiration’s incessant optimism. Regardless of the puppetry involved, this ain’t kid’s stuff. Both in song and story, the musical is profane, bawdy, and occasionally raunchy.
The scenes between him and Yoo play out like the sentimental melodrama of opera – deliberately, since it is through this medium that they meet, and Puccini’s “Madame Butterfly” acts as a cultural blueprint for the whole play.
Written more than a decade ago but reminiscent of today’s Occupiers, “The Altruists” unfolds in three bedrooms scattered across New York City. It’s Sunday, and yet another protest is on the agenda – although no one is quite sure what the subject-du-jour might be.
“From My Hometown” is about three vocalists – each seeped in the musical traditions of his hometown, lured from their roots to seek fame as recording artists in New York City.
If “Spring Awakening” is a cautionary tale, reminding us that ignorance is dangerous, it also holds out hope that one can stand up to tragedy and emerge battered, but not beaten.
But, oh, the music – delicate, rousing and lyrical make this opera a must hear, a splendid showcase for singers. And this production a feast for the eyes.
If there’s one truism in Metro Detroit’s theater community it’s this: Put a nun on stage, and tickets miraculously fly out of the box office.