Clarence Fountain

BroadwayWorld is saddened to report that Lee Breuer, playwright and experimental theatre maker, passed away yesterday, January 3, 2021. He was 83 years old.

Skylight Music Theatre today announced the cast and creative team for The Gospel at Colonus running January 17-26, 2020 in the Cabot Theatre at the Broadway Theatre Center, 158 N. Broadway, in Milwaukee's Historic Third Ward.

The Blind Boys of Alabama have the rare distinction of being recognized around the world as both living legends and modern-day innovators. They are not just gospel singers borrowing from old traditions; the group helped to define those traditions in 20th century and almost single-handedly created a new gospel sound for the 21st. The group will be at the Marcus Center's Wilson Theater at Vogel Hall on Saturday, January 26 at 7:30 pm. Tickets go on sale this Thursday, November 15 at 12:00 pm. To purchase tickets, go in person to the Marcus Center Box Office at 929 North Water Street, Downtown Milwaukee, call by phone at 414-273-7206 or online at MarcusCenter.org or Ticketmaster.com. Groups 10 or more should call Group Sales at 414-273-7121 x210 or x213. This show is part of the Marcus Center Presents series and is sponsored by The Fitz at The Ambassador Hotel.

The Public Theater (Artistic Director, Oskar Eustis; Executive Director, Patrick Willingham) and the Onassis Foundation USA announced today six free performances of THE GOSPEL AT COLONUS, the groundbreaking re-telling of Sophocles' classic, for a limited engagement, September 4-9 at the Delacorte Theater in Central Park. With book, original lyrics, and direction by Lee Breuer and original music, adapted lyrics, and music direction by Bob Telson, the iconic musical returns to New York City for the first time since 2004 to celebrate the 35th Anniversary of the original production at the Brooklyn Academy of Music and to honor visionary director Lee Breuer for his lifetime of excellence and historic collaboration with The Public Theater.

THE GOSPEL AT COLONUS will return to New York this fall, lighting up the Delacorte Theater in September.

Iconic gospel group Blind Boys of Alabama received this week their tenth nomination from the 2018 60th Grammy Awards. In the American Roots Music Field, they received the nom for 'Best American Roots Performance' for their song 'Let My Mother Live' off their latest album Almost Home, released this summer on BBOA Records through Amazon Music.

The 19th season of Lincoln Center's acclaimed American Songbook series opens this January, presenting the voices and stories of singers, songwriters, and musicians across a range of genres. From musical theater to Americana to R&B and gospel, these performers will chronicle personal journeys, pay tribute to legendary artists, and showcase the breadth of creativity, emotion, and expression found throughout American song.

The Martin E. Segal Theatre Center announces the third annual Segal Center Film Festival on Theatre and Performance (FTP).

The Martin E. Segal Theatre Center announces the third annual Segal Center Film Festival on Theatre and Performance (FTP).

Presenters La MaMa and St. Ann's Warehouse, and producers piece by piece productions, Mabou Mines and Dovetail Productions-all ardent and longtime supporters of the 'bad boy of avant-garde theater' (Village Voice) Lee Breuer-unite for the World Premiere of Breuer's epic magnum opus, La Divina Caricatura. Breuer wrote and directs the work, a mixed-media pop-opera with Bunraku puppets, a cast of singers and live music composed by Lincoln Schleifer that ranges from Motown to Broadway and reggae to raga. La Divina Caricatura, a metaphorical send-up of Dante's classic, concerns Rose the Dog, who makes a pilgrimage through love to Paradiso. Rose thinks she's a woman and fantasizes a mad love affair with her master John, an East Village independent filmmaker. The show, Part 1 of a trilogy, draws on material that stretches all the way back to Breuer's doo-wop opera Sister Suzie Cinema (1975).

Presenters La MaMa and St. Ann's Warehouse, and producers piece by piece productions, Mabou Mines and Dovetail Productions-all ardent and longtime supporters of the "bad boy of avant-garde theater" (Village Voice) Lee Breuer-unite for the World Premiere of Breuer's epic magnum opus, La Divina Caricatura. Breuer wrote and directs the work, a mixed-media pop-opera with Bunraku puppets, a cast of singers and live music composed by Lincoln Schleifer that ranges from Motown to Broadway and reggae to raga. La Divina Caricatura, a metaphorical send-up of Dante's classic, concerns Rose the Dog, who makes a pilgrimage through love to Paradiso. Rose thinks she's a woman and fantasizes a mad love affair with her master John, an East Village independent filmmaker. The show, Part 1 of a trilogy, draws on material that stretches all the way back to Breuer's doo-wop opera Sister Suzie Cinema (1975).

Z2 Entertainment will present Blind Boys of Alabama to the Boulder Theater on Thursday, December 5th, 2013. Tickets go on sale to the public on Friday, August 23rd, 2013 at 10:00 am for $25.00 general admission seated, $30 reserved and $40 gold circle.

Sony Masterworks announces the release of the Blind Boys of Alabama's new album, I'll Find a Way, produced by Justin Vernon (of Bon Iver) and available on October 1 st, 2013.

In the late '60s, the late British guitarist and songwriter John Martyn broke ground by leaping from acoustic folk into highly successful experiments with tape delay, wild recording scenarios, and jazz-inspired arrangements. He became a cult figure among British musicians. A list of his admirers reads like a who's-who of rock, pop, and even trip hop: Eric Clapton, The Band's Levon Helm, Lee 'Scratch' Perry, The Cure's Robert Smith, Beck, Morcheeba.

Lincoln Center Festival began with the idea of expanding the possibilities presented at Lincoln Center and bringing to audiences something that they could not see elsewhere. This is a challenging goal in a city as culturally rich as New York, and the result has been an eclectic mix of artists and productions representing over 50 countries as of Festival 2009.

Lincoln Center Festival began with the idea of expanding the possibilities presented at Lincoln Center and bringing to audiences something that they could not see elsewhere. This is a challenging goal in a city as culturally rich as New York, and the result has been an eclectic mix of artists and productions representing over 50 countries as of Festival 2009.

Lincoln Center Festival began with the idea of expanding the possibilities presented at Lincoln Center and bringing to audiences something that they could not see elsewhere. This is a challenging goal in a city as culturally rich as New York, and the result has been an eclectic mix of artists and productions representing over 50 countries as of Festival 2009.