REVIEW | Cirque du Soleil at the Sprint Center
- 07/17/2008 12:26 PM CDT
If clowns get a bad rap, it’s only because too few people have seen the clowns of Cirque du Soleil.
A low-budget independent production of John Murrell’s “Waiting for the Parade” provides an engaging evening of theater enlivened by committed, sometimes quirky performances.
If clowns get a bad rap, it’s only because too few people have seen the clowns of Cirque du Soleil.
If clowns get a bad rap, it’s only because too few people have seen the clowns of Cirque du Soleil.
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Theater as mass entertainment has set up shop in Kansas City this week with a simple goal: Fill 13,200 seats every night through Sunday.
“High School Musical” isn’t about the mouse, but it’s Disney straight to the bone. Its two hours of chipper chirpiness aim squarely for pretween hearts, but they also drag a surprisingly diverse and enthusiastic audience along for the ride.
The KC Fringe Festival might be getting a little fringier. The Kansas City Public Library, one of the institutional founders of the annual celebration of performing and visual arts and an active participant during the festival’s first three years, will have a dramatically reduced presence this year.
Brian Friel’s “Translations” is as sad as it is funny, as emotional as it is cerebral, as bleak as it is humanistic.
Summerfest Concerts, founded in 1991 to offer professional chamber music to Kansas City audiences during the summer months, begins its 18th season with concerts today and Sunday.
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North Kansas City High School theater teacher Randy Jackson and the young actors of Camp Stage Struck prepare "101 Dalmatians" for a 7 p.m. performance July 17 at the school.
The most important thing the New Theatre bigwigs want you to know about “All Shook Up,” the so-called Elvis musical, is that Elvis will not be in the building.
I’ll be the first to admit that criticizing “Always … Patsy Cline” for not being a real play seems petty when you consider how much pleasure it has brought to a mass audience.
I’ll be the first to admit that criticizing “Always…Patsy Cline” for not being a real play seems rather petty when you consider how much pleasure it’s brought to a mass audience.
They tell a story about Laurence Olivier. The greatest Shakespearean actor of his generation played the title role in “Othello” in the 1960s, and he went to great lengths to prepare. He even lowered his voice an octave. One night, after delivering an electrifying performance, he stormed to his dressing room and slammed the door.
And now let us invoke a phrase that has been with us since vaudeville: “One more time!”
Once again Angela Wildflower Polk delivers an intense performance and anchors a show that becomes something special because she’s in it.
It’s always refreshing to encounter a piece of audacious theater that actually works. Paula Vogel’s “Desdemona, a Play About a Handkerchief” is plenty audacious, but director John Rensenhouse and three talented actresses ratchet up the audacity quotient significantly in the first production of the summer from Actors Theatre KC.
It’s always refreshing to encounter a piece of audacious theater that actually works.
The Coterie Theatre began life like most theater companies in Kansas City — with youth, energy, very little money and absolutely no long-range plan.
The Coterie Theatre’s 2008-09 season is what we’ve come to expect from the young-audiences theater company. The season is by turns serious, silly and in-between, offering a dizzying range of plays and musicals that cover subjects as diverse as the Holocaust and zombies.
