He’s known as the father of French #theatre, but the influence of #Molière goes well beyond France. His impact is still felt today all over the world. To mark the 400th #anniversary of the famed playwright’s birth, we speak to Georges Forestier, professor at the Sorbonne and a specialist in the works of Molière. We also take you on a tour of Molière’s Paris.
The organization NYCNext, dedicated to building New York City into a more equitable place for all, is honoring the city with a special performance of Billy Joel’s classic, “New York State of Mind.” The video features performances and cameos by Zeshan B, Sara Bareilles, Victoria Clark, Cautious Clay, Andy Cohen, Stephen Colbert, Chloe Flower, Alexa Ray Joel, Joseph Joubert, Tom Kitt, The Klezmatics, LaChanze, Anaïs Reno, Idina Menzel, Brian Stokes Mitchell, Brian Newman, Kelli O’Hara, Joan Osbourne, Peppermint, Angie Potani, Mark Rivera, David Rosenthal, Bobby Sanabria and Suzanne Vega.
Art and technology are often seen as distinct disciplines. But combining them results in magic. Sarah Ellis, the Director of Digital Development at the Royal Shakespeare Company, teaches us how technology is reimagining the experience of theatre, taking it beyond the stage and into our living rooms. As an award-winning producer, Sarah Ellis currently works as Director of Digital Development for the Royal Shakespeare Company to explore new artistic initiatives and partnerships.
The coronavirus pandemic shuttered every single AMC theater for months. But the pandemic isn’t the only thing pushing the company onto financially shaky ground. Photo Illustration: Jacob Reynolds/WSJ
Soprano Renée Fleming sings the “Ave Maria” from Verdi’s “Otello” in the Met’s live At-Home Gala on April 25, 2020.
Otello is an opera in four acts by Giuseppe Verdi to an Italian libretto by Arrigo Boito, based on Shakespeare’s play Othello. It was Verdi’s penultimate opera, first performed at the Teatro alla Scala, Milan, on 5 February 1887.
The Moulin Rouge, the famous cabaret with a windmill that opened in the Montmartre section of Paris 130 years ago, is still drawing crowds to its spectacular shows featuring a chorus line of often-topless dancers. And it’s now the inspiration for a hit Broadway musical. Correspondent Alina Cho visits the landmark that has inspired artists and writers (and even marriage proposals), and talks with its artistic director and dancers, along with the Tony Award-winning set designer of the new Broadway show, “Moulin Rouge!: The Musical.”
Moulin Rouge (“Red Mill”) is a cabaret in Paris, France.
The original house, which burned down in 1915, was co-founded in 1889 by Charles Zidler and Joseph Oller, who also owned the Paris Olympia. Close to Montmartre in the Paris district of Pigalle on Boulevard de Clichy in the 18th arrondissement, it is marked by the red windmill on its roof. The closest métro station is Blanche.
Moulin Rouge is best known as the birthplace of the modern form of the can-can dance. Originally introduced as a seductive dance by the courtesans who operated from the site, the can-can dance revue evolved into a form of entertainment of its own and led to the introduction of cabarets across Europe. Today, the Moulin Rouge is a tourist attraction, offering musical dance entertainment for visitors from around the world. The club’s decor still contains much of the romance of fin de siècle France.
Theatre critics Matt Wolf and Lyn Gardner join Robert Bound to give their verdict on the new production of Chekhov’s ‘Uncle Vanya’ at the Harold Pinter Theatre, starring Toby Jones and Ciarán Hinds.
Uncle Vanya is a play by the Russian playwright Anton Chekhov. It was first published in 1898 and received its Moscow première in 1899 in a production by the Moscow Art Theatre, under the direction of Konstantin Stanislavski.
The play portrays the visit of an elderly professor and his glamorous, much younger second wife, Yelena, to the rural estate that supports their urban lifestyle. Two friends—Vanya, brother of the professor’s late first wife, who has long managed the estate, and Astrov, the local doctor—both fall under Yelena’s spell, while bemoaning the ennui of their provincial existence. Sonya, the professor’s daughter by his first wife, who has worked with Vanya to keep the estate going, suffers from her unrequited feelings for Dr. Astrov. Matters are brought to a crisis when the professor announces his intention to sell the estate, Vanya and Sonya’s home, with a view to investing the proceeds to achieve a higher income for himself and his wife.