Caspar Neher
Latest News on Caspar Neher:
Review: The Festival d'Avignon Presents LE NID DE CENDRES By SIMON FALGUIÈRES (Jul 11, 2022)
BWW Preview: Weill & Brecht's Satirical Ballet Chanté THE SEVEN DEADLY SINS Premieres in Brazil with Musical Direction by Ira Levin (Nov 2, 2021)
Designing LA REVOLUCION FILIPINA and ELIAS (Jul 21, 2014)
Review: The Festival d'Avignon Presents LE NID DE CENDRES By SIMON FALGUIÈRES (Jul 11, 2022)
BWW Preview: Weill & Brecht's Satirical Ballet Chanté THE SEVEN DEADLY SINS Premieres in Brazil with Musical Direction by Ira Levin (Nov 2, 2021)
Designing LA REVOLUCION FILIPINA and ELIAS (Jul 21, 2014)
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Review: The Festival d'Avignon Presents LE NID DE CENDRES By SIMON FALGUIÈRES
While describing the marginalization of theatre artists in early Christian society my theatre history professor once said, 'It must be a kind of witchcraft or at least magic. You are making something there that wasn't there before from your mere presence!' These words rang in my ears as I watched Simon Falguière's Le Nid de Cendres, a 13 hour long miracle currently running at The Festial d'Avignon's mercifully comfortable La Fabrica theatre. Separated into seven segments from 11 in the morning until midnight and after eight years of construction, the ambition of Falguière's company Le K is obvious. Though what astounds more than the run time is that this ambition is paired with boundless imagination, cutting wit, and deep generosity.
While describing the marginalization of theatre artists in early Christian society my theatre history professor once said, 'It must be a kind of witchcraft or at least magic. You are making something there that wasn't there before from your mere presence!' These words rang in my ears as I watched Simon Falguière's Le Nid de Cendres, a 13 hour long miracle currently running at The Festial d'Avignon's mercifully comfortable La Fabrica theatre. Separated into seven segments from 11 in the morning until midnight and after eight years of construction, the ambition of Falguière's company Le K is obvious. Though what astounds more than the run time is that this ambition is paired with boundless imagination, cutting wit, and deep generosity.
BWW Preview: Weill & Brecht's Satirical Ballet Chanté THE SEVEN DEADLY SINS Premieres in Brazil with Musical Direction by Ira Levin
Theatro Sao Pedro premieres the satirical ballet chante The Seven Deadly Sins, the last collaboration between Kurt Weil and Bertolt Brecht. The production will be musically directed by Ira Levin, who will command the Theatro Sao Pedro Orchestra. The Seven Deadly Sins opens on November 5th. In all, there will be 8 recitals until the 14th.
Theatro Sao Pedro premieres the satirical ballet chante The Seven Deadly Sins, the last collaboration between Kurt Weil and Bertolt Brecht. The production will be musically directed by Ira Levin, who will command the Theatro Sao Pedro Orchestra. The Seven Deadly Sins opens on November 5th. In all, there will be 8 recitals until the 14th.
Designing LA REVOLUCION FILIPINA and ELIAS
LA REVOLUCION FILIPINA, one of Ballet Philippines' landmark productions, returns to the Cultural Center of the Philippines' Tanghalang Nicanor Abelardo (main theater) from Friday, July 25, to Sunday, July 27, to kick off the ballet company's 45th season, and to commemorate the 150th birth anniversary of Philippine revolutionary hero Apolinario Mabini.
LA REVOLUCION FILIPINA, one of Ballet Philippines' landmark productions, returns to the Cultural Center of the Philippines' Tanghalang Nicanor Abelardo (main theater) from Friday, July 25, to Sunday, July 27, to kick off the ballet company's 45th season, and to commemorate the 150th birth anniversary of Philippine revolutionary hero Apolinario Mabini.
Tony Winner John Arnone Designs Sets for CCM's THE THREEPENNY OPERA, Running Now thru 3/10
The University of Cincinnati College-Conservatory of Music's (CCM) year-long Kurt Weill Festival resumes this month with a dynamic new production of the iconic musical The Threepenny Opera. Composed by Kurt Weill with book and lyrics by dramatist Bertolt Brecht (adapted into English by Marc Blitzstein), The Threepenny Opera weaves the riveting tale of notorious bandit and womanizer Macheath ('Mack the Knife') and his seedy companions in London's underworld. Weill's innovative score invented a new form of musical theatre, leading the way for such shows as Chicago and Cabaret.
The University of Cincinnati College-Conservatory of Music's (CCM) year-long Kurt Weill Festival resumes this month with a dynamic new production of the iconic musical The Threepenny Opera. Composed by Kurt Weill with book and lyrics by dramatist Bertolt Brecht (adapted into English by Marc Blitzstein), The Threepenny Opera weaves the riveting tale of notorious bandit and womanizer Macheath ('Mack the Knife') and his seedy companions in London's underworld. Weill's innovative score invented a new form of musical theatre, leading the way for such shows as Chicago and Cabaret.
Tony Winner John Arnone to Design Sets for CCM's THE THREEPENNY OPERA, 2/28-3/10
The University of Cincinnati College-Conservatory of Music's (CCM) year-long Kurt Weill Festival resumes this month with a dynamic new production of the iconic musical The Threepenny Opera. Composed by Kurt Weill with book and lyrics by dramatist Bertolt Brecht (adapted into English by Marc Blitzstein), The Threepenny Opera weaves the riveting tale of notorious bandit and womanizer Macheath ('Mack the Knife') and his seedy companions in London's underworld. Weill's innovative score invented a new form of musical theatre, leading the way for such shows as Chicago and Cabaret.
The University of Cincinnati College-Conservatory of Music's (CCM) year-long Kurt Weill Festival resumes this month with a dynamic new production of the iconic musical The Threepenny Opera. Composed by Kurt Weill with book and lyrics by dramatist Bertolt Brecht (adapted into English by Marc Blitzstein), The Threepenny Opera weaves the riveting tale of notorious bandit and womanizer Macheath ('Mack the Knife') and his seedy companions in London's underworld. Weill's innovative score invented a new form of musical theatre, leading the way for such shows as Chicago and Cabaret.
University of Cincinnati CCM Kicks Off Yearlong Kurt Weill Festival, Oct 19
Beginning this month, the University of Cincinnati College-Conservatory of Music (CCM) will celebrate the iconic work and enduring legacy of composer Kurt Weill with an unprecedented series of events. Opening on Friday, Oct. 19, and running through Tuesday, March 12, CCM's Kurt Weill Festival will incorporate the renowned theatre composer into a broad range of both public performances and classroom exercises.
Beginning this month, the University of Cincinnati College-Conservatory of Music (CCM) will celebrate the iconic work and enduring legacy of composer Kurt Weill with an unprecedented series of events. Opening on Friday, Oct. 19, and running through Tuesday, March 12, CCM's Kurt Weill Festival will incorporate the renowned theatre composer into a broad range of both public performances and classroom exercises.
THE THREEPENNY OPERA Opens At International City Theater
Filled with colorful criminals, biting social satire and a brilliant score, The Threepenny Opera opens International City Theatre's 2009 Season at the Long Beach Performing Arts Center. Jules Aaron directs Michael Feingold's translation of the trailblazing musical by Bertolt Brecht and Kurt Weill that became one of the most influential plays of the 20th Century. Darryl Archibald is musical director and Kay Cole choreographs the five-week run February 20 through March 22; low-priced previews begin February 17. First performed in 1928, Brecht and Weill's The Threepenny Opera was a revolutionary musical theater masterpiece that mocked the bourgeois political movement of pre-Hitler Germany. Brecht's brittle, sardonic tale of beggars, thieves and prostitutes, adapted from the 1728 play The Beggar's Opera by John Gay, was a fierce social and political critique, and Weill's innovative score that fused American jazz with German cabaret captured the ironic tone of the lyrics. Part acid social criticism, part bittersweet romance, the now eighty-year old saga of 'Mack the Knife' and his entourage of criminals and whores has never lost its theatrical punch. 'It's a satire on capitalism and corruption told from the viewpoint of the 'little people',' notes Aaron. 'If there was ever time to revive this show, it's now. Michael [Feingold]'s translation is earthy, gritty and very funny. I think it's going to strike a chord with audiences.'
Filled with colorful criminals, biting social satire and a brilliant score, The Threepenny Opera opens International City Theatre's 2009 Season at the Long Beach Performing Arts Center. Jules Aaron directs Michael Feingold's translation of the trailblazing musical by Bertolt Brecht and Kurt Weill that became one of the most influential plays of the 20th Century. Darryl Archibald is musical director and Kay Cole choreographs the five-week run February 20 through March 22; low-priced previews begin February 17. First performed in 1928, Brecht and Weill's The Threepenny Opera was a revolutionary musical theater masterpiece that mocked the bourgeois political movement of pre-Hitler Germany. Brecht's brittle, sardonic tale of beggars, thieves and prostitutes, adapted from the 1728 play The Beggar's Opera by John Gay, was a fierce social and political critique, and Weill's innovative score that fused American jazz with German cabaret captured the ironic tone of the lyrics. Part acid social criticism, part bittersweet romance, the now eighty-year old saga of 'Mack the Knife' and his entourage of criminals and whores has never lost its theatrical punch. 'It's a satire on capitalism and corruption told from the viewpoint of the 'little people',' notes Aaron. 'If there was ever time to revive this show, it's now. Michael [Feingold]'s translation is earthy, gritty and very funny. I think it's going to strike a chord with audiences.'
THE THREEPENNY OPERA Opens At International City Theater
Filled with colorful criminals, biting social satire and a brilliant score, The Threepenny Opera opens International City Theatre's 2009 Season at the Long Beach Performing Arts Center. Jules Aaron directs Michael Feingold's translation of the trailblazing musical by Bertolt Brecht and Kurt Weill that became one of the most influential plays of the 20th Century. Darryl Archibald is musical director and Kay Cole choreographs the five-week run February 20 through March 22; low-priced previews begin February 17. First performed in 1928, Brecht and Weill's The Threepenny Opera was a revolutionary musical theater masterpiece that mocked the bourgeois political movement of pre-Hitler Germany. Brecht's brittle, sardonic tale of beggars, thieves and prostitutes, adapted from the 1728 play The Beggar's Opera by John Gay, was a fierce social and political critique, and Weill's innovative score that fused American jazz with German cabaret captured the ironic tone of the lyrics. Part acid social criticism, part bittersweet romance, the now eighty-year old saga of 'Mack the Knife' and his entourage of criminals and whores has never lost its theatrical punch. 'It's a satire on capitalism and corruption told from the viewpoint of the 'little people',' notes Aaron. 'If there was ever time to revive this show, it's now. Michael [Feingold]'s translation is earthy, gritty and very funny. I think it's going to strike a chord with audiences.'
Filled with colorful criminals, biting social satire and a brilliant score, The Threepenny Opera opens International City Theatre's 2009 Season at the Long Beach Performing Arts Center. Jules Aaron directs Michael Feingold's translation of the trailblazing musical by Bertolt Brecht and Kurt Weill that became one of the most influential plays of the 20th Century. Darryl Archibald is musical director and Kay Cole choreographs the five-week run February 20 through March 22; low-priced previews begin February 17. First performed in 1928, Brecht and Weill's The Threepenny Opera was a revolutionary musical theater masterpiece that mocked the bourgeois political movement of pre-Hitler Germany. Brecht's brittle, sardonic tale of beggars, thieves and prostitutes, adapted from the 1728 play The Beggar's Opera by John Gay, was a fierce social and political critique, and Weill's innovative score that fused American jazz with German cabaret captured the ironic tone of the lyrics. Part acid social criticism, part bittersweet romance, the now eighty-year old saga of 'Mack the Knife' and his entourage of criminals and whores has never lost its theatrical punch. 'It's a satire on capitalism and corruption told from the viewpoint of the 'little people',' notes Aaron. 'If there was ever time to revive this show, it's now. Michael [Feingold]'s translation is earthy, gritty and very funny. I think it's going to strike a chord with audiences.'
LOVEMUSIK Announces Full Cast
Manhattan Theatre Club (Lynne Meadow, artistic director; Barry Grove, executive producer) is pleased to announce full casting for the world premiere of LoveMusik, a new musical featuring the songs of Kurt Weill, starring Tony Awardâ winners Michael Cerveris and Donna Murphy.
Manhattan Theatre Club (Lynne Meadow, artistic director; Barry Grove, executive producer) is pleased to announce full casting for the world premiere of LoveMusik, a new musical featuring the songs of Kurt Weill, starring Tony Awardâ winners Michael Cerveris and Donna Murphy.
Ana Gasteyer Joins Threepenny Opera Alongside Dale, Cumming, Falco and McKay
The New York Times reports that Ana Gasteyer has joined the cast of Roundabout's 'Threepenny Opera' for which previews will beging on March 24th.
The New York Times reports that Ana Gasteyer has joined the cast of Roundabout's 'Threepenny Opera' for which previews will beging on March 24th.
Jim Dale to Return to Broadway in Spring '06 Threepenny Opera
The New York Times reports that Dale will return to Broadway after an absence of nine years to star as Mr. Peachum in the Roundabout production.
The New York Times reports that Dale will return to Broadway after an absence of nine years to star as Mr. Peachum in the Roundabout production.
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