By Ernest Kearney — If you’re a fan of Pat Benatar, Invincible is a must see, and if you’re not, see it anyway. The concept is not new, a retelling of "Romeo and Juliet" in a modern setting with music.
By Ernest Kearney — With their opera 'Arkhipov,' Composer Peter Knell and Librettist Stephanie Fleischmann have superbly captured the historical event in their ironic juxtaposition of a tragedy barely avoided
By Ernest Kearney — Writer/Performer and Composer Jeremy Ebenstein was diagnosed with high functioning Asperger’s Syndrome early on in life.
By Ernest Kearney — Legendary rocker Joe Cocker was being interviewed once very early in his career when the BBC reporter asked him what he would have done if he hadn’t become a musician
By Ernest Kearney — What is startling about Charlotte Munson’s performance in her musical “Di Lady Di,” is the agility she displays in shifting from moments of silly mockery of Prince Charles to embracing the understated sensuality of the “People’s Princess” all in
By Ernest Kearney — “Cassandra,” at the Studio/stage for HFF’22, has a good deal going for it.
By Ernest Kearney — In "Too Big for Her Britches," Writer/Performer Lisa Pezik is this side of amazing.
By Ernest Kearney — "Singing Revolution the Musical," at the Broadwater Main Stage, has so very much going for it that one is somewhat in awe of Director Tony Spinosa – who also composed the music and, in partnership with James Bearhart, provided the lyrics
By Ernest Kearney — Ruchi Kishore, creator and star of "Dirty Chai – a hip-hop bollywood musical" which recently played during the Hollywood Fringe Festival, has staged a rather flat, staggeringly uninspired girl meets girl romance that is strictly by the numbers.
By Ernest Kearney — Why…? Why…? C’mon, why…? Really, why…? Why…? Why…?
