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Henry Purcell’s Dido and Aeneas, Spoleto Review 2001
Many in the audience seemed truly touched by this “jewel of Western opera repertoire,” as Director Chen Shi-Zheng has called it.
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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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The Have Nots! Have Lots, Piccolo Spoleto Review
…Another scene had Rucker and Finch playing a premise completely devised by the audience — acting out “that famous Australian custom of flossing after sex.” This is when the night becomes great. Audience members have the goofiest things to say, and as Tavares says, “we try not to turn anything down.” So what you get…
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Music in Time, Spoleto Review 2001
Conductor John Kennedy and Pianist Sarah Cahill, and others, team up for an amazing Spoleto performance of contemporary classical music. (Photo credit — hinnk — of Ms. Cahill performing at Berkeley Art Museum.)
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Spoleto Festival 2001 Preview
2001 Spoleto Festival Preview. From S.E. Barcus Charleston City Paper archives.
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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. S.E. Barcus is also 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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