The Gusto Blog

Earlier this evening, Erie County Executive Mark Poloncarz delivered his first "State of the County" address in the Albright-Knox Art Gallery. The location he chose to deliver that speech, the cultural flagship of Western New York and one of the driving forces of the region's ongoing arts renaissance, speaks volumes about the county executive's understanding culture's importance to the identity of Western New York.

And what he said in the speech about the role of the arts here -- something that until very recently a local public would never have acknowledged to the extent Poloncarz did -- will be heartening to the dozens of cultural organizations who lobbied so hard for the demise of his predecessor:

The Albright Knox is just one example of the abundance of riches we have in Erie County including: nationally renowned museums; an amazing philharmonic orchestra; landmarks from architectural giants; and, a thriving theater scene other cities would love to have.

...

I believe investment in our arts and cultural assets should be no more optional than funding our parks, roads and bridges. Each one of these is an integral part of the infrastructure of our community; some are steel and concrete, others are body and mind. The resident doesn’t need to ‘use’ the arts any more than the need to use every single road or bridge or park supported by their tax dollars to derive a benefit from them thriving. 

This is progress. Much more work remains to be done, including the creation of a more equitable approach to funding the county's cultural organizations, and making sure our region doesn't put the cart before the horse when it comes to cultural tourism. But compared to the state of cultural funding and government foresight in this region two years ago, things seem to be looking up.

--Colin Dabkowski

Tod Benzin and Pamela Rose Mangus in Donna Hoke's new play "Seeds," running through Marc 24 in the Road Less Traveled Theatre. Photo by Charles Lewis / The Buffalo News.

"Seeds," through March 24 in Road Less Traveled Theatre. ★★★★

From the review: "Simply put, the instructional, observant and insightful “Seeds” is Hoke’s best work to date..." --Ted Hadley

Tim Lewis and Cassandra Angerosa star in Lancaster Opera House’s production of “Oklahoma!” ( Harry Scull Jr. / Buffalo News)

"Oklahoma!" through March 17 in the Lancaster Opera House. ★★★

From the review: "Weak productions of 'Oklahoma!' tend to amplify all its simplistic plot turns and schlocky lyrics. Smart ones such as this highlight the irresistible spirit of American optimism it embodies and all the innovations of Agnes De Mille’s choreography and staging it introduced to musical theater." --Colin Dabkowski

"First Lady Suite," through March 16 in an American Repertory Theatre Production at The Church of The Ascension. ★★★½

From the review: "[Michael John LaChiusa's] score flows freely from Gershwin to Sondheim to Philip Glass to even William Finn, relying on their proven textures while refusing to mimic them. It’s quite a feat, especially considering that it’s played –- masterfully, easily, it would sound –- on an electric keyboard by music director Michael Hake, whose passion for musicianship imbues every sound we hear." --Ben Siegel

From the review: "Shepard’s theories are once again aided by his usual themes: desperation, isolation, violence, temper, deceit. Add incest, murder and the always present Shepard staple, menace, and you have the makings for an uncomfortable, albeit intriguing, night at the theater, one interminable at times, riveting at others." --Ted Hadley

Beth Donohue and Wendy Hall in the Irish Classical Theatre Company's production of "Dancing at Lughnasa."

"Dancing at Lughnasa," through March 10 in the Irish Classical Theatre Company's Andrews Theatre. ★★★

From the review: "...You enter and exit the picture fluidly, never sure of whose emotions you’re responding to. In the end, you feel awoken from a dream, in the hazy déjà vu of it all. How exquisite this can be." --Ben Siegel

Michele Marie Roberts, Jessica Ferraday, Guy Balotine and Josie DiVincenzo star in "Noises Off" in the Kavinoky Theatre.

From the review: "The Kavinoky’s current production of Michael Frayn’s classic modern farce “Noises Off” is perhaps not absent of flaws. That would be absurd. I dare you to find anything wrong with it, though, or to not take pure joy in everything it offers." --Ben Siegel

From left, Antoinette Henry, Joe Shepherd, Marcus Goldhaber and George Bugatti during rehearsals for “Wonderful Wizard of Song: The Music of Harold Arlen.”

Back in January, I wrote a short piece about the off-Broadway debut of "The Wonderful Wizard of Song: The Music of Harold Arlen." The show, about the famed Buffalo-born composer of songs for "The Wizard of Oz" and dozens of other classics of the American songbook, featured Buffalo boy Marcus Goldhaber. And yesterday, in a not-entirely-unexpected development, Shea's Performing Arts Center announced that Goldhaber and company will bring the show to the 710 Main Theatre on April 26 and 27.

Tickets for the production go on sale Friday morning.

--Colin Dabkowski

Here's a statement from Shea's Performing Arts Center on tickets for "The Book of Mormon"

Tickets to The Book of Mormon are no longer available with the exception of some very limited single seats. Additional seats may be made available for sale closer to the engagement. Please feel free to check back at your convenience. There will be a lottery for this engagement - details will be announced closer to the engagement.

Here are some screen caps showing the remaining available tickets for "The Book of Mormon" at Shea's Performing Arts Center as of 3:40 p.m. The light blue dots signifiy seats that can only be puchased, via a special promotion, with an American Express Card. The black dots are remaining seats that can be purchased by anyone.

Tuesday, June 11:

Wednesday, June 12:

Thursday, June 13:

Friday, June 14:

Saturday, 2 p.m., June 15:

Saturday, 8 p.m., June 15:

Sunday, 2 p.m., June 16:

Sunday, 7 p.m., June 16:

--Colin Dabkowski

"Buried Child," through March 16 at Torn Space Theater. ★★★½

From the review: "Shepard’s theories are once again aided by his usual themes: desperation, isolation, violence, temper, deceit. Add incest, murder and the always present Shepard staple, menace, and you have the makings for an uncomfortable, albeit intriguing, night at the theater, one interminable at times, riveting at others." --Ted Hadley

Beth Donohue and Wendy Hall in the Irish Classical Theatre Company's production of "Dancing at Lughnasa."

"Dancing at Lughnasa," through March 10 in the Irish Classical Theatre Company's Andrews Theatre. ★★★

From the review: "...You enter and exit the picture fluidly, never sure of whose emotions you’re responding to. In the end, you feel awoken from a dream, in the hazy déjà vu of it all. How exquisite this can be." --Ben Siegel

Anne Gayley, Victoria Perez and Mary Kate O'Connell star in the O'Connell and Company production of "Glorious!"

"Glorious!" through March 3 in O'Connell and Company's Gleasner Hall, Erie Community College Williamsville Campus. ★★★

From the review: "Call it what you will – bravura, tour de force – O’Connell is marvelous as Florence, gentle, innocent, trusting, so serious yet so ridiculous..." --Ted Hadley

Tim Newell stars in the Jewish Repertory Theatre's production of "Mister Benny."

"Mister Benny," through March 3 in the Jewish Repertory Theatre's Maxine and Robert Seller Theatre. ★★★½

From the review: "In 'Mister Benny,' a one-man play by Mark Humphrey about the beloved comedian Jack Benny, Tim Newell slips a white handkerchief into the breast pocket of his suit jacket, puts on a pair of chunky black glasses, and disappears.In his place, the fumbling, charming, self-aware Benny – a comedian whose vaudevillian persona belongs to a distant and more innocent age – comes so vividly to life that even those with little to no experience of his work experience a pang of nostalgia for someone they barely recognize." --Colin Dabkowski

Michele Marie Roberts, Jessica Ferraday, Guy Balotine and Josie DiVincenzo star in "Noises Off" in the Kavinoky Theatre.

"Noises Off," through March 10 in Kavinoky Theatre.  ★★★★

From the review: "The Kavinoky’s current production of Michael Frayn’s classic modern farce “Noises Off” is perhaps not absent of flaws. That would be absurd. I dare you to find anything wrong with it, though, or to not take pure joy in everything it offers." --Ben Siegel

Wagner's "Tristan und Isolde" winds up Saturday -- that's tomorrow -- at the Canadian Opera Company. 

I reviewed it for The News. There were a lot of things to love about the performance, pictured above, which is the video-enhanced production by Peter Sellars. It was a thrill to hear tenor Ben Heppner. The orchestra was magnificent. Then there is just the stirring nature of this opera itself.

My colleague Michelle Kearns went with me to see "Tristan" -- and it was just about her first opera ever. A baptism in fire, you know? Anyway, to her surprise, she was very moved by it. I invited her to jot down her impressions as a first-time operagoer of this monumental experience.

-- Mary Kunz Goldman

Take it, Michelle!

"Tristan & Isolde": Observations of an Opera Dilettante

By Michelle Kearns

I know next to practically nothing about opera. During the few I’ve seen, I usually succumbed more than once to an overpowering urge to nap in my seat. Yet I won’t say no to the rare invitation to give it another try. Maybe I’m still trying to make up for the opera appreciation class I dropped in college. Skiing on student discount days had more appeal than what turned out to be a study of a German play-turned-opera about an impoverished soldier who stabs the mother of his child. "Wozzeck" (by Alban Berg) was too grim and dull, my sophomore self concluded. My curiosity dissolved, as things did in those days, into sun, snow and the next party.

Now that I’m decades away from the temptations of life in the Colorado mountains, I accepted a friend’s offer and a few weeks ago I went to Toronto for "Tristan und Isolde." The title had a promising royal sound. Maybe it wouldn’t be too bleak.

Continue reading "Confessions of a Wagner newbie" »

Yesterday, I relayed some readers' questions about whether Shea's would offer refunds because of Wednesday night's tech troubles to Shea's marketing director Lisa Grisanti. She said the theater would deal with such requests on a "case-by-case basis." She also said that inquiries about ticket refunds should be directed to the Shea's box office at 847-0850.

UPDATE: When asked about Shea's official policy regarding regarding ticket refunds for significant technical malfunctions, Grisanti sent this statement:

"Normally, we do not issue refunds in this situation. However, we handle any complaints and issues on a case by case basis and make a determination regarding a response to accommodate the patron," Grisanti wrote. "For some who have contacted us, we have offered them to see the show again (which they agreed)."

In 2010, a similar malfunction affected a performance of the tech-heavy "Dreamgirls," and in that instance said refunds would not be offered:

Grisanti said no refunds would be offered to Wednesday's audience [for "Dreamgirls"] because the show went on, a decision that is in accordance with standard practice on Broadway and elsewhere in the theater world.

--Colin Dabkowski

During last evening's performance of "Priscilla Queen of the Desert," a technologically complex touring show playing in Shea's Performing Arts Center, a piece of scenery broke down and caused a 20-minute delay in the production. A large bus that serves as the play's central set piece apparently malfunctioned and had to be removed. The show, according to one audience member, went on without the bus and the cast members did their level best to make up for its absence.

There were also a couple of small hiccups during Tuesday's opening performance of the production, including a malfunctioning light panel on the bus and a botched quick costume change toward the end of the production. (I chose not to write about either of those in my 3.5 star review of the show, as I didn't believe they significantly impeded the production in any way.)

Shea's marketing director Lisa Grisanti issued this statement today when asked about Wednesday night's issues:

"There was a minor electronic malfunction of the bus on stage during the second act of the Wednesday night performance. The performance was stopped for about 20 minutes while the bus was removed from the stage after it was determined that more time was needed to address the situation," she said. "The situation was taken care with the bus being tested several times, and we are confident there will not be any more issues. Sometimes these things happen in live theatre. We have been receiving much positive feedback from patrons about the show."

I'll keep my ears open for any more technical mix-ups during tonight's performance.

--Colin Dabkowski

"Priscilla Queen of the Desert," through Sunday in Shea's performing Arts Center. ★★★½

From the review: "As for 'Priscilla,' this stage adaptation is successful in replicating the patent absurdity, unlikely emotional weight and foot-long eyelashes of the film in all its consciously preachy glory." --Colin Dabkowski

Beth Donohue and Wendy Hall in the Irish Classical Theatre Company's production of "Dancing at Lughnasa."

"Dancing at Lughnasa," through March 10 in the Irish Classical Theatre Company's Andrews Theatre. ★★★

From the review: "...You enter and exit the picture fluidly, never sure of whose emotions you’re responding to. In the end, you feel awoken from a dream, in the hazy déjà vu of it all. How exquisite this can be." --Ben Siegel

Continue reading "Thursday Theater Roundup" »