Tag: editorial

Happy Thanksgiving from GaySocialites.com

Happy Thanksgiving from GaySocialites.com

Everyone here at GaySocialites.com would like to wish you and yours a Happy Thanksgiving!

Everyone has something to be thankful for, and we are thankful to you!

Theatre Review: “The Passion of the Crawford”

Joan 0035

In this riveting evening of lip-synch, there’s a lot of people up on that stage, even though there’s only two bodies. John Epperson lip-synchs an interview Joan Crawford gave in 1973 in New York’s Town Hall. Or is it Epperson as his drag persona Lypsinka as Crawford?

Not to mention that some of the additional audio is Faye Dunaway portraying Crawford in Mommie Dearest, and some other cues are extracted from films where Crawford is portraying yet another “somebody else.” And then there’s the interviewer, lip-synched in most performances by Steve Cuiffo (Hairspray lyricist and generally brilliant man of the theatre Scott Wittman will perform the role November 18 through December 1).

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Theatre Review: “Allegro”

Allegro

I really loved this revival of Rodgers & Hammerstein rarity Allegro. It’s not an unarguable classic like their South Pacific, or as rock-ribbed in structure as their Oklahoma! or Carousel. It’s weirder, and in some ways more ambitious, than any of those – already enough to gain it a place in my heart. On top of that, director John Doyle’s stripped-bare production reveals its considerable virtues, and, for me anyway, secures its place in the R&H canon.

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Theatre Review: “John Epperson: Show Trash”

Show Trash

The artist otherwise known as Lypsinka takes off the wigs, makeup and sound design, and – lo and behold – is still an engaging entertainer without all that. Sure, John Epperson sans the Lyp armor is a very different sort of performer, but his much more traditional cabaret act Show Trash holds the stage, with considerable grace.

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Opera Review: “Lady Macbeth of Mtsensk”

Lady Macbeth of Mtsensk

Despite the title, this opera is not about the usurper’s wife in “the Scottish play.” Instead this electrifying “tragi-satirical” opera, as composer Shostakovich called it, follows Katerina (Eva-Maria Westbroek), a bored housewife, faced with a society that doesn’t value her in any way. She finds her escape in lust and murder – thus the parallel with the bloodthirsty queen of the title.

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