John Taylor

Following the success of previous album-in-concerts Fleetwood Mac's 'Rumours', Stevie Wonder's 'Songs in the Key of Life', Queen's 'A Night at the Opera', and Pink Floyd's 'Dark Side of the Moon', musicians from local community theatre group Fairfield Center Stage will recreate The Beatles' 'Abbey Road', featuring a rotating cast of singers and a live band performing the classic album in its entirety.

Duran Duran releases their sixteenth studio album, 'Danse Macabre,' featuring brand new songs and covers of Billie Eilish, Talking Heads, The Rolling Stones, Siouxie and the Banshees, and more. The album also includes collaborations with former band members and producers.

Heartbeat Opera returns with its beloved drag opera extravaganza this fall at Roulette. With a cast of returning Heartbeat favorites, The Golden Cock marks Heartbeat's most ambitious—and operatic—drag extravaganza yet.

Get ready for an unforgettable night of industrial metal music as Ministry and Gary Numan bring their 2024 North American Tour to The Theater at Virgin Hotels Las Vegas. Don't miss this exclusive one-night-only performance on April 4th. Tickets go on sale this Friday, October 6th at 10 a.m. PST.

New York's Heartbeat Opera has announced its Tenth Anniversary Season in 2023-24. Learn more about the full upcoming season here!

According to creator and star tenor Karim Sulayman, UNHOLY WARS, a 70-minute opera pastiche that made its debut on Saturday at Philadelphia Opera’s O23 Festival, “stitches together a collection of baroque music centered around the Middle East and the Crusades, examining the separation of the human race based on creed and color.” The result was a creative multi-visual/musical work with dance, drawing heavily on Monteverdi’s IL COMBATTIMENTO DI TANCREDI E CLORINDA, supplemented by Baroque arias and modern electronic music.

The second of three brand new songs featured on the Danse Macabre album, ‘Black Moonlight’ sees Duran Duran reunited with long-time friend and collaborator Nile Rodgers in a timeless display of dance-rock glamour. Fueled by an instantly catchy bass line and infectious guitar hook, while Nick Rhodes’ synths sound.

With creative director Linc Gasking at the helm, this stunning new video clip showcases cutting-edge, AI-driven techniques, some of which were only launched as recently as last weekend. The culmination is a 3D animated masterpiece that, in previous times, would have demanded an entire team, over a year and a substantial budget to produce.

Fans can also look forward to Duran Duran’s Halloween covers of Billie Eilish’s ‘Bury A Friend’, Talking Heads’ ‘Psycho Killer’ (feat. Victoria De Angelis of Måneskin), The Rolling Stones’ ‘Paint It Black’, the Rick James-inspired ‘Super Lonely Freak’, Siouxsie and the Banshees’ ‘Spellbound’, Cerrone’s ‘Supernature’ and The Specials’ ‘Ghost Town’.

Opera Lafayette, the only opera company presenting full seasons in both Washington, D.C. and New York City, has announced the performance lineup of its 29th season.

Syracuse Stage closes its 2022-23 season with the madcap farce, Clue. Based on the iconic 1950’s board game of the same name, Clue spoofs whodunit mysteries, film noir, 1950’s pop culture and gothic horror films. The play is adapted for stage from the 1985 film that was a critical flop but has since become a cult classic. Set during McCarthy’s House Un-American Activities Committee hearings, a time fraught with suspicion and accusation, the mansion owned by Mr. Boddy becomes the gathering point for six invited guests. These guests we find out are all guarded about their pasts, are all being blackmailed and are referred to by aliases that correspond to the famous characters in the board game. Each guest is then gifted one of the six murder weapons. In all, there are six potential murderers, six weapons and nine rooms in the mansion, 324 possibilities for who, what and where; as Shakespeare and Sherlock Holmes agree, now “the game is afoot.” The gothic mansion, the dark and stormy night, the suspenseful reality of the play merge with Parker Brothers’ (now Hasbro’s) rule book and the characters become mashups of villains and game pieces. They punctuate the endings of scenes with comic confusion, mad scrambling and a kind of frantic skipping, like game pieces moving on a board after a dice roll. Scenic designer, Czerton Lim, creates the perfect 3-D version of the original board game. Upon entering the theatre, the audience sees a classic gothic foyer, complete with crystal chandelier, mahogany woodwork, marble stairs and a tiled floor fashioned to replicate the spaces on a game board. As the play progresses, the set becomes a character in itself as it transforms into the rooms of the mansion required by both the game and the play. His design is beautiful and functional. It not only provides a setting but also helps establish the humor and tempo of the play. It always surprises and delights. Likewise, original music by Michael Holland and sound design by Todd Mack create a comically suspenseful mood and punctuate the zany exploits on stage. Along with lighting design by Jared Gooding, the cliché of a dark and stormy night permeates the atmosphere and heightens the tension and anxiety of this mock thriller. The production is at its best when the actors are highly choreographed and in tune with the music, sound and light cues. In fact, the funniest moment in the play is prompted by a single gunshot. Director Benjamin Hanna establishes a fast pace from the very beginning of the play. It is so fast and furious that neither the audience nor the actors are allowed to get their bearings. The characters in Clue are obvious stereotypes but the portrayals all share the same frenetic quality without ever establishing basic, underlying traits and motivations. Characterization, for the most part, has been sacrificed to blatant silliness and camp. (There is nothing in the script that requires the beginning to move at such a pace.) Once the first murder occurs and the stakes are raised the speed can and should pickup through the end. For example, Plum is a stereotypical Professor, haughty and cerebral but cursed with an inflated libido. Beethovan Oden has a nice general feel for the character and indicates his personality traits, but he isn’t able to develop those qualities from the onset of the play. If he had, then as the pace became more frantic the audience could have enjoyed watching him first struggle then ultimately fail to keep his composure. Clearly many of the actors are talented. John Taylor Phillips as Wadsworth has a natural presence on stage as well as crisp comic timing but never fully embodies the stereotypical reserved, unflappable and ultimately arrogant butler. Emily Berman as Miss Scarlet is also clean and precise. Miss Scarlet is a stereotypical Madame but the actress is not allowed to explore the cynism and sexuality of the character who should have a slower, more voluptuous pace than some of the others. Henry Woronicz’s Colonel Mustard vacillates appropriately between being doddering and demanding. He sketches out an interesting frame for his character but again seems to fall prey to the tempo of this runaway train. Claire Wilcher makes a strong acting choice to play Mrs. Peacock with the nervous energy of a bird. Her comedy is broad and eccentric while still grounded in reality. Even when she is in the background of the action, she is always in the moment. When given focus, she commands the stage and rate of action. As a result, her portrayal is very funny and very satisfying to watch. Her least successful moments occur when directed to do something out of character simply for a laugh. Less successfully, Eric Sharp’s Mr. Green and Emjoy Gavino’s Mrs. White just seem lost in the silliness and frenetic mayhem. As lovers of farce and broad comedy, we were disappointed that more care wasn’t taken to create an underlying believability before descending into comic chaos. A stock character when presented by an actor still needs to have specificity. Silliness can be funny, comic bits enjoyable and a fast pace exciting, but they need to be balanced and well executed. By the end of the production, it felt like all 324 murder possibilities were explored, but few realities remained. If you are looking for an evening of fast-paced silliness, screwball comedy and sight gags this production satisfies. As a farce poking fun at human frailty and foibles, Benjamin Hanna’s Clue misses the mark. Clue runs through Sunday, June 25th. Tickets can be purchased by visiting SyracuseStage.org or by calling (315) 443-3275 or by visiting the box office at 820 East Genesee Street. did our critic think of CLUE at Syracuse Stage?

Syracuse Stage closes its 2022/2023 season with a production that celebrates the pure joy and simple fun of live theatre, the fan favorite and ultimate whodunnit, CLUE. The production runs June 7 to 25 in the Archbold Theatre at Syracuse Stage, 820 E. Genesee St., Syracuse.

The 2023 US edition of Jazztopad, from June 23-30, will feature a series of commissions from the acclaimed Lutosławski Quartet in collaboration with jazz piano luminaries Craig Taborn and Uri Caine, EMMY-winning composer Don Davis and sought-after bassist and composer Michael Bates. Iraqi-American trumpeter and composer Amir ElSaffar will also perform on opening night in a return Jazztopad engagement.

Produced by Live Nation, the new dates will bring the legendary, award-winning four-piece to Queens, New York on September 22, where the incomparable artist and icon Grace Jones will be joining as a very special guest alongside both Nile Rodgers & CHIC and Bastille. Check out new tour dates now!

Following the success of previous album-in-concerts Stevie Wonder's 'Songs in the Key of Life,' Queen's 'A Night at the Opera,' David Bowie's 'Ziggy Stardust...', and Pink Floyd's 'Dark Side of the Moon,' musicians from local community theatre group Fairfield Center Stage will recreate Fleetwood Mac's classic album 'Rumours', featuring a rotating cast of singers and a 5-piece band performing the classic album in its entirety.

'This highly personal story would be nothing without a deep connection to family. Francisca Tapia's (Gloria Fajardo) voice was phenomenal but her acting was so realistic she moved the audience from being slightly annoyed with her to being frustrated when Gloria refuses to speak to her daughter, and finally to empathizing with her as she worries about her daughter's life. She did a magnificent job at being a stubborn, misunderstood, mother. When it is finally revealed that she had given up on her own dreams for the sake of her family the audience was so endeared by her acting they couldn't help but have a change of heart.' BWW.

As part of his upcoming Joe Gatto's Night of Comedy Tour, celebrated TV personality, comedian, and producer Joe Gatto has announced a one-night-only performance at The Theater at Virgin Hotels Las Vegas, part of Curio Collection by Hilton, on Sunday, Jan. 15, 2023.

La Secretaría de Cultura del Gobierno de México y el Instituto Nacional de Bellas Artes y Literatura (Inbal), a través del Centro de Experimentación y Producción de Música Contemporánea (Cepromusic), presentará dos conciertos en la edición 44 del Foro Internacional de Música Nueva Manuel Enríquez (Fimnme); el primero el sábado 22 de octubre a las 18:00 horas en la Sala Carlos Chávez del Centro Cultural Universitario (CCU-UNAM) y el segundo el 29 de octubre a las 20:00 horas en la Sala Principal del Palacio de Bellas Artes. 

Powerstories is partnering with Arts4All Florida, a nonprofit organization that promotes the accomplishments of artists with disabilities. Twelve works by these local artists will be featured online and on the lobby art wall during the musical.

Duran Duran have confirmed details of a brand-new, 75 minute docu-concert film, entitled A Hollywood High, that captures the band performing live on a rooftop in Los Angeles, alongside exclusive interviews and archival footage that tells the story of their long-time love affair with the city. Watch the new video trailer now!