Category: Arts
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Puccini’s Manon Lescaut, Spoleto Review 2001
“For all the kitsch and Brecht, what I would’ve loved to see was a critique of this dopey and insulting take on women….”
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Stephen Sondheim’s Company, Piccolo Spoleto Festival Preview
The musical “Company,” by Stephen Sondheim, is being revived by the Footlight Players for Piccolo Spoleto due to its outstanding success in January. “Company” is considered a “concept” musical due to its non-linear form of storytelling. It washes over you with a collage of relationships, giving you a better understanding of what it’s like to…
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Eric Bogosian’s Suburbia, review
1998 Archives My Charleston City Paper review of Eric Bogosian’s Suburbia, produced by the College of Charleston, October, 1998. Follow S.E. Barcus on Facebook.
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Stravinsky’s Rite of Spring, Piccolo Spoleto Festival Review
Stravinsky’s “Rite of Spring” was made for “firsts”, it seems. The concert at the Angel Oak last weekend marked the first time the 1,400-year-old tree has been used as a venue by Piccolo Spoleto, and the first time the Charleston Ballet Theater has performed their magnum opus to live music.” From the S.E. Barcus Charleston…
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Charles Busch’s Psycho Beach Party, review
“Besides the funniest script this year with the best acting, you get dance numbers … Metts opens the show with some sexy freak-out strobelight hula hoop madness that gets everyone rocking.”
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Cole Porter’s Anything Goes, Review
Review of Charleston Stage Company’s 2000 production of Cole Porter’s “Anything Goes”. From S.E. Barcus’ Charleston City Paper archives.
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Frankenstein at the Charleston Stage Company, a review
“… philosophical and theological questioning, Prometheus, intricate plot-weaving, creative use of her contemporary scientific ideas on vitalism and electricity, and fine, fine terror — all mixed up by a 17-year-old, 175 years ago. Just unbelievable. Mozart-prodigy-unbelievable. Godwin and Wollstonecraft, you done us good.”
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You Can’t Take It with You
“You Can’t Take It with You” has several plotlines that make for light, romantic farce — dealing with a young couple’s dilemma over their contrasting families and a kind, old anarchist’s dilemma over taxation — but the real meaning is in the title of the play.
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The Last Night of Ballyhoo, by Alfred Uhry, Charleston City Paper review, April 1999
“Altogether, they’re an outstanding ensemble, one of the best all-around casts I’ve seen in Charleston.”
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Born Yesterday, Charleston Stage Company Review
“This play is about political scandal, but it is not a sex scandal like Cliniton’s. … And it’s not a cynical and clever ’90’s script like Hollywood’s three products of ’98. No, thankfully, it’s a play written in the ’40’s when there was still idealism and right and wrong in this country.”
S.E. Barcus 