Toast To 2018 At The Peninsula New York’s Rooftop New Year’s Eve Gala At Salon De Ning

Grab a glass of champagne and toast to 2018 high above the city lights of Fifth Avenue at The Peninsula New York’s first Rooftop New Year’s Eve Gala, taking place at Salon de Ning rooftop bar and terrace. This glamorous event will see the property’s Salon de Ning transformed into a chic sky-lit penthouse complete with live music, delicious eats, entertainment and dancing, as both the East and West Terraces are enclosed and heated under translucent marquees.1510073027-925c0c2051589fd218c3816db3509a6f

A Manhattan favorite, Salon de Ning is inspired by the fictitious tale of Madame Ning, a celebrated Shanghai socialite, avid world traveler and international hostess who presided over “salons” in her stylish and eclectic residences around the world, making her friends and guests feel at home in a warm and welcoming environment. Boasting the most spectacular views of the glittering New York skyline and its streets below, Salon de Ning makes for the ideal rooftop venue to ring in 2018 beneath the city lights.

Following a red-carpet arrival through a private entrance leading directly to Salon de Ning, guests will be greeted with Champagne and be given an exclusive key with a hashtag for entry, as they then pass through an iridescent photo tunnel which will send a text directly to a guest’s phone with the image. From there, guests will enter an express elevator up to Salon de Ning.

Upon entry and resembling a luxe speakeasy, the West Terrace will welcome guests with crisp couches, vast velvet curtains, dancing and live music from the imaginative French duo Jul & Co, performing their signature mix of multi-instrumental DJ skills to set a unique and eclectic vibe. An exclusive VIP section for 20 people is available for purchase for $20,000, which includes five bottles of Cristal champagne, a lavish caviar setup, a rare bottle of the Balvenie 30-Year-Old Vintage Single Malt Scotch Whisky and all-night bottle service to ring in not just New Year’s Eve, but mark the start of the hotel’s 30th Anniversary year, taking place in 2018.

On the East Terrace, two full-service bars and a range of dining stations and passed plates will excite guests, along with a performance by The Chip Shop Boys, regarded as the UK’s best rock and pop cover band to dance the night away. Behind them, a video wall with a live feed of New York City’s iconic Times Square ball drop will be broadcast at the stroke of midnight, kicking off 2018 along with a confetti drop, more dancing, drinks and posh late-night bites.

The two atmospheres will meet in Salon de Ning’s interior bar, which will host a decadent tequila-pairing bar complemented with a live sushi station and raw bar for guests to enjoy, as a range of curious performers dazzles through the space. Additional eats include an Asian street food station, taco bar, and post-midnight dessert graffiti station.

The Salon de Ning Rooftop New Year’s Eve Gala will take place from 9:00pm to 2:00am and is priced at $725, not including tax and gratuity. Attire is black tie optional. For reservations, please call 212-903-3051 or email holidaypny@peninsula.com.

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Soprano Emily Birsan and Tenor Gregory Turay to Star in “La Traviata” at The Indianapolis Opera

Indianapolis Opera opens its “Season of Delights” with one of the most beloved operas of all time, “La Traviata.” No art form can surpass opera’s ability to present the passion and drama found in universal stories and “La Traviata” is a superb example of this. Verdi’s tale of desire, love, and redemption comes to the intimate Tarkington Theatre at the Center for the Performing Arts in Carmel November 17, 18, & 19.

Indianapolis Opera Logo

Indianapolis Opera Logo

Indianapolis Opera’s artistic vision is to present both traditional and contemporary operas that feature some of the best national and regional talent.

No opera express the transformative power of love more than “La Traviata.Violetta, a Parisian courtesan, transcends the haze of riches and excess by sacrificing herself to her true love. But it’s just not that easy, as the audience will witness. This particular opera is great for someone who has never been to opera and, of course, it will bring back memories and enjoyment for opera lovers who have seen it many times.

We are pleased and proud to welcome Indianapolis Opera back to the Tarkington,” said Jeffrey C. McDermott, President/CEO of the Center for the Performing Arts. “Given our shared mission of bringing world-class performances to central Indiana audiences, this partnership is very important to us.

Soprano Emily Birsan, Rising Star with Lyric Opera of Chicago and critically acclaimed for her many prominent interpretations of concert and operatic repertoire, will appear as the lead, Violetta. Indy Opera also welcomes tenor Gregory Turay, Metropolitan Opera Veteran, who appears as Alfredo. Mr. Turay has sung leading tenor at the Metropolitan Opera’s productions of “Don Giovanni” and “Falstaff,” and with Lyric Opera of Chicago as Rodolpho in the world premiere of “A View from the Bridge.

“We are excited to have artists of this high caliber collaborating with our company,” said David Craig Starkey, Indianapolis Opera’s new General Director.Audiences will be moved by this production as they experience one of Verdi’s finest masterpieces in the intimate environment of the theatre.

All performances will be sung in Italian, with English supertitles to enhance the audience’s experience. Tickets are on sale through www.thecenterfortheperformingarts.org.

Art Preview: SFMOMA Announces 2018 Exhibition and Programming Schedule

SFMOMA to Debut Major Vija Celmins and René Magritte Exhibitions in 2018

The Train: RFK’s Last Journey, Susan Meiselas, John Akomfrah and Alexander Calder Among the Highlights of SFMOMA’s Ambitious Exhibition Schedule

Museum Takes Its Popular “Send Me SFMOMA” Initiative Global with Partnerships in the U.S., Europe, Asia and New Zealand, Enabling Other Institutions to Share Their Collections in New Ways

The San Francisco Museum of Modern Art (SFMOMA) announced details of its 2017–18 exhibition schedule and cutting-edge digital initiatives. One of the world’s foremost museums of modern and contemporary art, the newly expanded and transformed SFMOMA opened in May 2016, with nearly triple the exhibition space and a greatly augmented collection. Since then the museum has broadened its activities serving artists, scholars and more than 1.2 million visitors in its first year.SFMOMA logo 2

We are committed to presenting an expansive spectrum of art from the 20th and 21st centuries, revisiting the innovations of modern artists — including René Magritte and Robert Rauschenberg — and introducing our large audiences to the important and timely work of contemporary artists such as Vija Celmins, John Akomfrah, and Susan Meiselas,” said Neal Benezra, Helen and Charles Schwab Director at SFMOMA. “Since our opening last spring, we have welcomed more than twice the number of visitors the museum received historically, with more families and youth visitors than ever before. In the coming year, we look forward to engaging visitors with seven floors of dynamic art and design exhibitions, while connecting a devoted body of online followers to the riches of the collection.

Looking Back on the Opening Year

Since its May 2016 opening, the expanded and transformed SFMOMA, designed by Snøhetta, has served as an engaging gathering place for diverse audiences, enabling the museum to foster deeper ties with its community.

The museum can now display a greater breadth of its 34,000 works of architecture and design, media arts, painting and sculpture and photography, as well as postwar and contemporary art from its groundbreaking partnership with the Doris and Donald Fisher Collection. Currently on view at the museum are Julie Mehretu’s site-specific painting HOWL, eon (I, II) (2017), created as part of a new art commissioning program; a major Walker Evans retrospective, for which SFMOMA is the only U.S. venue; Soundtracks, the museum’s first large-scale group exhibition centered on the role of sound in contemporary art; and New Work: Kerry Tribe, the premiere of the artist’s immersive video installation, commissioned by SFMOMA, which offers insight into the world of Standardized Patients — professional actors trained to portray real patients in a simulated clinical environment as part of medical students’ training.

In support of SFMOMA’s mission to engage with the art and artists of our time, the museum has made two major curatorial appointments since opening, including the appointment of Eungie Joo to the newly established role of curator of contemporary art. The role cements the museum’s commitment to new generations of artists across all mediums, as well as new thinking and scholarship on a local, national and international level. Clément Chéroux, entering his second year as senior curator of photography, has brought a global perspective and deep expertise in the realm of modern and contemporary photography.

The new SFMOMA has become a place of conversation, collaboration and learning across disciplines, as nearly 50,000 K–12 students have been brought into the museum to explore the arts since the building’s opening. Public dialogue has flourished in the SFMOMA community through more than 100 events and programs, including Public Tours and Artist Talks. Coinciding with the 2017 FOG Design+Art Fair, the symposium Yours, Mine, and Ours: Museum Models of Public-Private Partnership brought together international museum leaders and visionary collectors to discuss the current and future state of collaboration between museums and collectors. Also in the past year, the Performance in Progress program brought three groundbreaking commissioned live works to the museum, and the new Modern Cinema film series, established by SFMOMA and SFFILM, presented more than 50 film screenings. In September 2017, the museum launched Public Knowledge, a two-year initiative in partnership with the San Francisco Public Library that aims to promote public dialogue on the cultural impact of urban change through artist projects, research collaborations, public programs, and publishing. Participating artists include Burak Arikan, Bik Van der Pol, Minerva Cuevas, Josh Kun and Stephanie Syjuco.

SFMOMA’s digital offerings also expanded greatly in the past year, with the generous support of Bloomberg Philanthropies, offering pioneering digital experiences to visitors at the museum and online. The SFMOMA app, a 2017 Webby Award honoree with over 100,000 downloads, reinvented the museum audio guide with location-aware technology and unique gallery tours voiced by Errol Morris, Philippe Petit and the cast of HBO’s Silicon Valley. Other popular interactive elements include the digital photogram kiosk Self Composed, developed in partnership with Adobe Design, in the Pritzker Center’s Photography Interpretive Gallery and touch screens and digital tables in the galleries that allow visitors to explore artworks and the careers of artists more deeply.

SFMOMA’s restaurant In Situ also received rave reviews for its innovative concept and menu. It was awarded the San Francisco Chronicle’s Restaurant of the Year in 2016, named one of Eater’s Best New Restaurants in America in 2017 and became a finalist in the prestigious James Beard Awards’ Best New Restaurant category.

Coming Soon…

In 2018 SFMOMA will present major exhibitions of René Magritte and Vija Celmins, each of whom redefined the boundaries of art with their very distinct practices.

René Magritte, La chambre d_écoute (The Listening Room), 1952

René Magritte, La chambre d’écoute (The Listening Room), 1952; The Menil Collection, Houston, Gift of Fariha Friedrich; © Charly Herscovici, Brussels / Artists Rights Society (ARS), New York

A global exclusive presentation, René Magritte: The Fifth Season (May 19–October 28, 2018) will focus on the latter half of Magritte’s career, a period of remarkable artistic transformation and revitalization. Featuring more than 50 paintings and a dozen works on paper, the exhibition will reveal Magritte as an artist who subverts our expectations of the world around us. The Fifth Season will open with the artist questioning the modernism of his youth, experimenting with elements of Impressionism, Fauvism and Expressionism, and follow his developing strategies for illuminating the ways that paintings both create and expose the gaps between appearance and reality.

Vija Celmins, Untitled (Ocean), 1977

Vija Celmins, Untitled (Ocean), 1977; San Francisco Museum of Modern Art, bequest of Alfred M. Esberg; © Vija Celmins; photo: Don Ross

Spotlighting the work of one of the most important artists of her generation, Vija Celmins: To Fix the Image in Memory (December 2018–March 2019) will be the first North American retrospective of the artist’s work in more than 25 years. In a continuation of SFMOMA’s commitment to exhibiting and collecting artists who emerged in the 1960s, the exhibition will highlight Celmins’ “re-descriptions” of the physical world through art as a way of understanding human consciousness through lived experience. SFMOMA will present the global debut of this retrospective, which will feature 140 works including paintings, drawings, and sculptures.

The Pritzker Center for Photography, the largest space dedicated to photography in any art museum in the United States, will continue to highlight SFMOMA’s dedication to the medium with The Train: RFK’s Last Journey, examining a historically important event from different perspectives; Selves and Others: Gifts to the Collection from Carla Emil and Rich Silverstein, looking at the complexity of identity through portraits; and Carolyn Drake: Wild Pigeon, presenting a recent acquisition.

The Train: RFK’s Last Journey, March 17–June 10, 2018

Paul Fusco, Untitled, from the series RFK Funeral Train, 1968, printed 2008; © Magnum Photos, courtesy Danziger Gallery

Paul Fusco, Untitled, from the series RFK Funeral Train, 1968, printed 2008; © Magnum Photos, courtesy Danziger Gallery

On June 8, 1968, three days after the assassination of Senator and Democratic presidential candidate Robert F. Kennedy, his body was carried by a funeral train from New York City to Washington, D.C. for burial at Arlington National Cemetery. Just two months after the assassination of Martin Luther King, Jr. and five years after President John F. Kennedy’s death, Robert Kennedy’s passing united diverse communities grieving the loss of a politician who had represented hope for much of the nation during a tumultuous decade.

In conjunction with the 50th anniversary of his death, The Train: RFK’s Last Journey looks at this historical journey through three distinct artists’ projects shown together for the first time. Presented in three rooms, each dedicated to one artist, the exhibition features approximately 80 photographs, a video installation and a 70mm film projection.

This multidisciplinary exhibition shows how art can inform and expand our understanding of history through photographs, videos and documents from different points of view,” said Clément Chéroux, senior curator of photography at SFMOMA. “By bringing historical and contemporary works together in dialogue, we aim to demonstrate a fresh approach to photography at SFMOMA. Continue reading

Smithsonian Launches Kickstarter for Culture-Defining “Anthology of Hip-Hop and Rap”

Unique Collaboration Between the Hip-Hop Community, Smithsonian Folkways Recordings and Smithsonian’s National Museum of African American History and Culture

The Smithsonian has launched a 30-day Kickstarter campaign today for the Smithsonian Anthology of Hip-Hop and Rap, a powerful cultural statement told through an unequaled combination of music, text and stunning visuals. The compilation, to be produced and released by Smithsonian Folkways Recordings, includes nine CDs, more than 120 tracks and a 300-page book with extensive liner notes, essays by artists and scholars, and never-before-published photographs from the National Museum of African American History and Culture’s collection. This campaign allows dedicated fans the chance to be a part of the community that helps bring this landmark project to life—and into their homes.

(Kickstarter has enabled the funding of more than 132,00`0 projects with the support of more than 13 million backers pledging over $3.3 billion since it began in 2009.)nmaahc-national-museum-of-african-american-history-and-culture

The Kickstarter campaign to produce a hip-hop and rap anthology is one of the most important projects on contemporary history that the Smithsonian will ever undertake, because it shows that Smithsonian’s work is as much about today and tomorrow as it is about yesterday,” said Lonnie G. Bunch III, founding director of the National Museum of African American History and Culture. “Hip-hop is a musical revolution that embodies the voice of an entire generation and that’s why it’s important for the museum to partner with the hip-hop community and Folkways Recordings to tell this story. Hip-hop helps us to understand the power of black music and the impact of African American culture on the world.

HHKC Image

Smithsonian Launches Kickstarter for Culture-Defining “Anthology of Hip-Hop and Rap”

Going into its 70th year, Smithsonian Folkways Recordings, the “National Museum of Sound,” makes available close to 60,000 tracks in physical and digital format as the nonprofit record label of the Smithsonian, with a reach of 80 million people per year. A division of the Smithsonian Center for Folklife and Cultural Heritage, the non-profit label is dedicated to supporting cultural diversity and increased understanding among people through the documentation, preservation, production, and dissemination of sound. Its mission is the legacy of Moses Asch, who founded Folkways Records in 1948 to document “people’s music” from around the world.

The Smithsonian Anthology of Hip-Hop and Rap will be the first collection to include music from every major label and dozens of independent label recordings. The anthology explores important issues and themes in hip-hop history, and it provides a unique window into the many ways hip-hop has created new traditions and furthered musical and cultural traditions of the African diaspora.

We have always been passionately committed to documenting and celebrating music with strong social impact,” said Huib Schippers, director and curator of Smithsonian Folkways Recordings. “Hip-hop began in the 1970s as a distinctly African American urban culture that has since become a global phenomenon. This box set is a perfect addition to our catalog.” Continue reading

“Nick Cave: Feat.” Opens November 10 at the Frist Center for the Visual Arts

Performances at Schermerhorn Symphony Center on April 6, 2018 to Showcase Hundreds of Nashvillians

The Frist Center for the Visual Arts presents Nick Cave: Feat., a dynamic survey of the noted Chicago-based artist’s practice, on view in the Upper-Level Galleries November 10, 2017, through June 24, 2018. The exhibition contains an array of engaging works that are broadly accessible to audiences of all ages and backgrounds and, on a deeper level, speak to issues of identity, racial equity, and social justice. Cave will also direct the community-based project Nick Cave: Feat. Nashville, a monumental interdisciplinary performance work featuring local talent that will be presented twice on April 6, 2018.

Artist Nick Cave

Artist Nick Cave (Photo courtesy of The Frist Center for the Visual Arts)

Nick Cave was born in Fulton, Missouri, in 1959. He received a BFA from the Art Institute of Kansas City and an MFA in fiber arts from Cranbrook Academy of Art, outside of Detroit. Cave’s work has been featured in monographic exhibitions around the globe, at venues such as the Cranbrook Art Museum, the Denver Art Museum, the Institute of Contemporary Art in Boston, and the Massachusetts Museum of Contemporary Art, and is housed in the permanent collections of many major institutions, including the Brooklyn Museum, the Detroit Institute of Arts, the Hirshhorn Museum and Sculpture Garden, and the Museum of Modern Art. Cave has received several prestigious awards, among them the Joan Mitchell Foundation Award, the Artadia Award, the Joan Mitchell Foundation Award, the Joyce Award, and multiple Creative Capital Grants. He has lived and worked in Chicago since 1990 and is the Stephanie and Bill Sick Professor of Fashion, Body, and Garment at the School of the Art Institute of Chicago. He is represented by Jack Shainman Gallery in New York.

Cave produces work in a wide range of mediums, including sculpture, installation, video, and performance. “Cave’s creations, bursting with color and texture, are optical delights that can be enjoyed by everyone,” says Frist Center Curator Katie Delmez. “A closer look reveals that they also address racial profiling, gun violence, and civic responsibility.

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Nick Cave. Heard performance. © Nick Cave. Photo: James Prinz Photography

His trademark soundsuits, human-shaped sculptural forms composed of a variety of found and repurposed commonplace materials, were initially an artistic response to the beating of Rodney King by policeman in Los Angeles more than twenty-five years ago. “As an African American man, Cave felt particularly vulnerable after the incident, so he formed a type of armor that protected its wearer from profiling by concealing race, gender, and class,” says Delmez. The soundsuits are now part of an ongoing body of work in which items such as buttons, plastic hair-beads, domestic textiles, and vintage toys are upcycled into elaborate assemblages based on the artist’s own body. The series has become a collective army of resistance to profiling and violence, responding not only to police brutality but any crime motivated by hate—from the killing of Emanuel AME church members in Charleston to the Pulse nightclub massacre in Orlando.

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Nick Cave. Soundsuit, 2012. Mixed media, including beaded and sequined garments, fabric, metal and mannequin, 109 1/2 x 24 1/2 x 12 in. Courtesy of the artist and Jack Shainman Gallery, New York. © Nick Cave. Photo: James Prinz Photography

Ten soundsuits (2011–2017), will be displayed runway-style in the first gallery of the exhibition. “The wearable sculptures—visually related to Mardi Gras Indian costumes, African ceremonial attire, and Tibetan folk attire—illustrate how Cave’s practice straddles the visual and performing arts,” says Delmez.

Along with themes of equity and human connectivity, Cave wants his art to spark viewers’ creativity and aspirations. This exhibition’s title, Feat., refers to the exceedingly hard work that goes into attaining success. It also references the terminology used to highlight performers in promotional materials—a nod to Nashville’s creative community.

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Nick Cave. Wall Relief, 2013. Mixed media, including ceramic birds, metal flowers, afghans, strung crystals, and gramophone, 97 x 74 x 21 in. Courtesy of the artist and Jack Shainman Gallery, New York. © Nick Cave. Photo: James Prinz Photography

Through immersive installations, Cave intends to provide a space—away from chaotic contemporary life—where viewers’ imaginations can thrive. The runway of soundsuits will be surrounded by walls covered with thousands of shimmering buttons attached to dark fabric. These Button Walls (2013) are meant to suggest a starry night sky and memories of gazing at it with his six brothers as a child in rural Missouri. “Cave’s emphasis on the imagination is not to escape reality, but to create new ideas to help us navigate, maybe even improve, our condition,” says Delmez.

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Nick Cave. Blot (still), 2012. Blu-ray, EP1 of 5, with 2 artist proofs; 42 minutes, 57 seconds. Courtesy of the artist and Jack Shainman Gallery, New York. © Nick Cave

Viewers may also feel enveloped by the life-size projection of the video, Blot (2012), which features a figure wearing black raffia soundsuit in constant motion against a stark white background. The endlessly morphing forms are open to personal interpretation, similar to blots on a Rorschach test.

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Nick Cave. Architectural Forest, 2011. Bamboo, wood, wire, plastic beads, acrylic paint, screws, fluorescent lights, color filter gels, and vinyl, 136 x 372 x 192 in. Courtesy of the artist and Jack Shainman Gallery, New York. © Nick Cave. Photo: James Prinz Photography

The Architectural Forest (2011)—rarely on view since its creation—is a large-scale hanging installation with thousands of brightly colored beads and pseudo-psychedelic patterned strands of bamboo and is best appreciated by multiple viewpoints.

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Nick Cave. Rescue, 2014. Mixed media, including ceramic birds, metal flowers, ceramic Basset Hound, and vintage settee, 70 x 50 x 40 in. Courtesy of the artist and Jack Shainman Gallery, New York. © Nick Cave. Photo: James Prinz Photography

The exhibition will conclude with densely assembled wall-mounted sculptures dripping with ceramic birds, painted metal flowers, beads, crystals, and other ornaments found in thrift stores—even antique gramophones. These works bestow value on memories and objects that may be overlooked by mainstream society, an underlying theme throughout Cave’s practice.

Through the exhibition Feat. and the accompanying performance Nick Cave: Feat. Nashville, Cave hopes to provide a transformative, inspirational, and empowering opportunity for all,” says Delmez.

Nick Cave: Feat. Nashville

April 6, 2018 — Schermerhorn Symphony Center

In conjunction with the exhibition, Cave will direct a months-long community engagement project that will culminate in two free public performances. These major events will feature live dance, music, soundsuits, spoken word and much more. Cave’s original compositions will engage Middle Tennessee’s increasingly multicultural population through ten social services organizations, including Conexión Américas and the Oasis Center. The performances will showcase local talent from performing arts organizations and universities, including dozens of professional and student dancers, musicians working in a range of genres, vocalists, poets, spoken word artists, and others. Continue reading

“She Loves Me” from THIRTEEN’s “Great Performances” Kicks Off PBS’s Broadway’s Best Lineup

The critically-acclaimed Roundabout Theatre Company production of She Loves Me comes to THIRTEEN‘s Great Performances, Friday, October 20 at 9 p.m. (check local listings) as the opening presentation of PBS’s fall Broadway’s best lineup. Every Friday night, from October through December, PBS will give theater lovers a front-row seat to some of the best-loved Broadway shows, from glorious, feel-good musicals to captivating dramas. All four titles are productions by the theater streaming service BroadwayHD in association with THIRTEEN PRODUCTIONS LLC for WNET.GP-Logo

She Loves Me joins Present Laughter (November 3), Indecent (November 19), and Holiday Inn (November 24, and also from Roundabout) as part of PBS’s Broadway’s best lineup, directed for television by Emmy Award-winner David Horn, executive producer of both Great Performances and THIRTEEN‘s local Theater Close-Up series.

For over 50 years, PBS has provided audiences locally and across the country with unparalleled access to some of the most exciting and eclectic theater offerings on Broadway and beyond. We’re pleased to continue this great tradition with a diverse mix of recent critically acclaimed productions,” Horn said.

She Loves Me was the first Broadway musical ever to stream live during a performance at Roundabout Theatre Company’s Studio 54. In the musical, Tony Award® winner Laura Benanti and Tony Award® nominee Zachary Levi star as Amalia and Georg, two parfumerie clerks who aren’t quite the best of friends. Constantly bumping heads while on the job, the sparring coworkers can’t seem to find common ground. But little do they know, the anonymous romantic pen pals they have both been falling for happen to be each other. Will love continue to blossom once their identities are finally revealed?

Critics unanimously embraced this latest production. Mark Kennedy of Associated Press, for one, remarked, “An astounding cast, a nifty story and memorable songs turn this revival into a celebration of classic musical construction.

Marilyn Stasio of Variety raved, “The enchanting Broadway revival is so charming, you kind of wish it would follow you home.”

For BroadwayHD this performance of She Loves Me was produced by Stewart F. Lane and Bonnie Comley and captured by BroadwayHD in June 2016, in association with Ellen M. Krass Productions, Inc. and THIRTEEN PRODUCTIONS LLC FOR WNET. It was directed for television by David Horn.

Part of Roundabout’s 50th Anniversary Season, She Loves Me also starred Byron Jennings (Maraczek), Gavin Creel (Kodaly), Tom McGowan (Sipos) and Jane Krakowski (Ilona) with Nicholas Barasch (Arpad) and Peter Bartlett (Head Waiter).

The production was directed by Tony Award® nominee Scott Ellis, choreographed by Warren Carlyle with musical direction by Paul Gemignani. This classic musical comedy features a book by Joe Masteroff, lyrics by Sheldon Harnick and music by Jerry Bock.

This marks the second presentation of She Loves Me on Great Performances which aired a well-remembered British studio version starring Robin (“Poldark”) Ellis and Gemma (“The Slipper and the Rose”) Craven which delighted viewers.

The celebrated score features favorites such as “Vanilla Ice Cream,” “A Romantic Atmosphere,” “Dear Friend,” and “She Loves Me.” The musical is based on a play by Miklos Laszlo, whose well-known romantic story was the basis for the 1940 James Stewart film “The Shop Around the Corner,” the 1949 Judy Garland and Van Johnson musical “In the Good Old Summertime,” and the 1998 Tom Hanks & Meg Ryan film “You’ve Got Mail.

Roundabout’s Associate Artistic Director Scott Ellis previously directed Roundabout’s ten-time Tony-nominated revival of “She Loves Me” in 1993, which marked the first Broadway musical in the company’s history and launched the Musical Theatre Program at Roundabout.

The production started previews on February 19, 2016, and with the official opening on March 17, 2016. The creative team includes David Rockwell (sets), Jeff Mahshie (costumes), Don Holder (Lights), Jon Weston (Sound), Larry Hochman (Orchestrations), David Krane (Dance Arrangements & Incidental Music).

Major support for the Roundabout Theatre Company’s production of She Loves Me is provided by The Blanche and Irving Laurie Foundation. The stage production of She Loves Me also benefits from Roundabout’s Musical Theatre Fund with lead gifts from The Howard Gilman Foundation, Perry and Marty Granoff, Horace W. Goldsmith Foundation, and Michael Kors and Lance Le Pere.

The Full Schedule:

GREAT PERFORMANCES: She Loves Me

Friday, October 20, 9 p.m.

(See Above) Continue reading

New York City Gay Men’s Chorus Announces Their 2017/18 Season Of Performances And Fundraisers

The New York City Gay Men’s Chorus (NYCGMC) has announced their 2017/18 season schedule of concerts featuring special guest stars, a ten-year anniversary celebration of the beloved sing-along sensation, Big Gay Sing X, and important fundraising events.

New York City Gay Men's Chorus (NYCGMC) logo

New York City Gay Men’s Chorus (NYCGMC) logo

YOUTH PRIDE CHORUS
MAINSTAGE PERFORMANCES BY LESBIAN, GAY, BISEXUAL, TRANSGENDER, GENDER NON-BINARY, AND STRAIGHT YOUNG PEOPLE AGES 13-22
December 9, 2017, and April 21, 2018, The Center, 208 West 13th Street

NYCGMC HOLIDAY SLAY
BEARS, TWINKS, AND SUGAR PLUM FAIRIES, Featuring the NYC-based dance company, The Bang Group
December 14, 15, and 16 | 2017, NYU Skirball Center for the Performing Arts, 566 LaGuardia Place

HARMONY: VALENTINE’S DAY EDITION
LOVE WILL FILL THE AIR FOR THIS YEAR’S ANNUAL BIG APPLE PERFORMING ARTS GALA
February 14 | 2018, Current, Pier 59

BIG GAY SING X
CELEBRATING 10 YEARS OF BIG GAY SINGALONGS IN THE GAYEST WAY KNOWN TO MAN
March 9, 10, and 11 | 2018, NYU Skirball Center for the Performing Arts, 566 LaGuardia Place

QUEER GENIUS: DAVID BOWIE AND BEYOND
A CELEBRATION OF NON-CONFORMITY FEATURING SPECIAL GUESTS ANGEL CITY CHORALE FROM LOS ANGELES
May 19 | 2018, NYU Skirball Center for the Performing Arts, 566 LaGuardia Place

LILY GARDEN 2018
LILY PUTIAN’S ANNUAL GARDEN PARTY BENEFITING NYCGMC
July 31 | 2018

After a year of rallies and marches, NYCGMC and YPC are bringing you a collection of concerts that address the wrongs of the world with music that celebrates what’s right in all of us,” said Charlie Beale, Artistic Director for NYCGMC. “Our aim is to ease your mind, get you to your feet, get you dancing in the aisles and back out to the streets with a newfound energy to support equality and human rights,” Charlie added. Continue reading