Author Archives: Christopher Arnott

  A couple of years ago, Wesleyan University, ever-aware of the difficulties inherent in supporting and promoting progressive artforms, started its Institute for Curatorial Practice in Performance. This professional-certificate program is described in a press release as an “intensive, nine-month, low-residency academic program designed to encourage emerging curators to enrich their understanding of intellectually rigorous, … Continue reading »

My daughter Mabel (age 9) couldn’t sleep last night, so she created a booklet illustrating her favorite numbers from the Long Wharf Theatre production of Ain’t Misbehavin’, which closed yesterday. See if you can match the song title to the drawing: • “It’s a Sin to Tell a Lie” • “Honeysuckle Rose” • “Your Feet’s … Continue reading »

The Chicago band Secret Colours released a new song today, called “Faust.” It’s the lead track from a 5-song EP which Secret Colours will release on New Year’s Day. You can find “Faust” on MTV Hive here. “Fall down/Get back up,” it intones. Later, “Original sin/Comes from within.” The music starts with a horse-trot beats, … Continue reading »

A Thought in Three Parts Through Nov. 19 at the Yale Cabaret, 217 Park St., New Haven. (203) 432-1566, yalecabaret.org. By Wallace Shawn. Directed by Hallie Cooper-Novack. Set & Lights: Adam Rigg. Costumes: Martin Schnellinger. Sound: Palmer. Sound Associate: Keri Klick. Producer: Kate Ivins. Dramaturg: Delilah Dominguez. Stage Manager: Kirstin Hodges. Technical Director: Michael Place. … Continue reading »

Disney’s done all right on Broadway for a couple decades now, but they’ve ruled the stadium touring circuit for much longer, maintaining high standards despite having very little competition. Disney road shows are often produced by Feld Entertainment, the folks who bring you Ringling Bros. and Barnum & Bailey Circus, the monster truck show Monster … Continue reading »

Gilbert Gottfried’s Rubber Balls and Liquor (St. Martin’s Press, 2011) is the most unassuming memoir by an abrasive, polarizing international celebrity (hello, Japan!) that you’re ever likely to read. In contrast to his squinting, braying stage persona, in his book Gottfried underplays everything—his fame, his talent, his maturity. I highly recommend you purchase the thing. … Continue reading »

Unlike Jacques Brel, who is alive and well and living in Paris, Jacques Lamarre has gone too far. At least that’s the view of New Britain’s Hole in the Wall Theater, which is producing four of Lamarre’s one-acts Nov. 18-Dec. 10 at their hole in the wall at 116 Main St., New Britain. “I kind … Continue reading »

Little Ambrose, the tyke in the red cap, is the Stubby Kaye of the Little Archie gang. My daughter Mabel caught the Guys & Dolls reference in this story, reprinted in Archie’s Double Digest #208, June 2010. Ambrose has recently resurfaced as a grown-up in Life With Archie magazine, living in New York and turning … Continue reading »

Death Dance by Linda Fairstein (Scribner, 2006). In which the bestselling Fairsten’s regular heroine Alex Cooper (an NYC Assistant DA) and two NYPD pals are “drawn into the machinations of New York City’s secretive theatrical community.” There are long stretches when nothing theatrical is happening at all, but then there are some richly resonant passages … Continue reading »

The Cleveland Play House calls itself “America’s first professional regional theatre,” (begging the churlish question “What’s a professional region?!”). Their next production, The Game’s Afoot (or Holmes for the Holidays) is a world premiere with a Connecticut connection. The title’s no mystery—this is a Sherlock Holmes caper set during Christmastime. Can a more commercial regional … Continue reading »