Streaming Theatre

[DiveMilw]

I have been meaning to post this for a couple of weeks so I apologize for any shows you were not able to watch. 
The Dallas Opera is streaming various of their productions.  You can see what is being offered and when here.

 

[scenicdesign71]

Thanks, @DiveMilw !  I'm forwarding this link to an old friend who I think would enjoy these.  And I'm watching Hansel & Gretel myself right now.

[DiveMilw]

Stolen from the Public's FB page:

1 WEEK LEFT TO STREAM FREE SHAKESPEARE IN THE PARK!!!

Don't miss your chance to have a movie night with MUCH ADO ABOUT NOTHING, MERRY WIVES, RICHARD III, and HAMLET from the comfort of your own home!

WAYS TO STREAM
On your Desktop through the PBS Website
On your phone or tablet through the PBS: Watch TV & Documentaries App
On your TV through the PBS: Watch TV & Documentaries App
After downloading the app, simply search the show title & start streaming!
FREE Shakespeare @ Home will be available to stream through next Sunday, June 30! Don't miss out! More info at http://thepublic.nyc/StreamShakespeare

[scenicdesign71]

Sondheim Unplugged is back at 54 Below, both in-person and livestreaming.  This month's edition will be Monday November 18 at 7pm EST, streaming for $28.50 (which includes $3.50 in unspecified "fees").

https://54below.org/events/livestream-sondheim-unplugged-11/

[scenicdesign71]

I'm posting this here as a suggestion to the universe: this new Earnest needs to come to NT At Home — or at least an NTLive cinemacast — ASAP:

NYT:   This Importance of Being Earnest Is a Fabulous Romp


It sounds delightful, but more specifically: Sharon D. Clarke as Lady Bracknell?  Intoning "a handbag...?" in Caribbean-accented subterranean rumble?
Yes, please.


[Ed.: I guess ASAP is relative, but February will do.]

[scenicdesign71]

NYT:   Theater Productions to Stream Now

Includes The 7th Voyage of Egon Tiche, which probably more than anything put Theater in Quarantine on the map when Jesse Green reviewed it in the summer of 2020; I posted it on this very thread back then, and the original production can still be viewed here.

But the NYT is touting 7th Voyage again at least partly because the show is being revived, now for an in-person audience (and expanded from 35 minutes to 50), at New York Theatre Workshop as part of this year's Under The Radar festival.  While their review of this new version is less favorable, its main draw would presumably be the chance to see, beyond the edges of the TiQ closet-qua-performance-lab, exactly how the show is created in real time — similar, in that sense, to the "live film" performances of Manual Cinema, whom TiQ's Joshua William Gelb has mentioned as an inspiration.

This new stage version, in turn, will be livestreamed from NYTW tomorrow and the following two Sundays.  I don't know, but am guessing, that these livestreams may likewise expand the frame to reveal the mechanics of how the show is being made, as well as the resulting live-mixed video (projected onto large screens flanking Gelb's reconstructed "closet").

In-person tickets (closes 2/2), $30-50:        https://www.nytw.org/7th-voyage-tickets/
Livestream tickets (1/19, 1/26, 2/2), $19:    https://www.nytw.org/live-stream-the-7th-voyage/

Re-watching the original piece last night, I don't think TiQ had yet adopted its later policy in which any pre-recorded performance elements are "pre"recorded only within the temporal bounds of each individual live performance/capture (so, for instance, a piece of the current performance could be looped for reuse later during that same performance; and while that loop was playing onscreen, Gelb use his resulting "off-camera" time to record another snippet of action likewise to be used only during that same performance).  Even without that rule, and with what appears likely to have been a whole lot of pre-recording and -editing, the 2020 version of 7th Voyage was evidently a pretty insane jigsaw puzzle.  Now that he's performing the show in front of an in-person audience, I'm wondering whether its expanded length might involve some even-more-mind-boggling restructuring to bring the show more in line with the company's evolving definition of "live"-ness — in this case, perhaps, finding ways to achieve the necessary dazzling multiplicity of Gelbs onscreen with less pre-recording and more live-looping (though I'm sure there was already plenty of the latter in the 2020 version; during one of his talkbacks, Gelb confesses that, while watching the full capture of a dress rehearsal before the show's first public livestream, even he kept getting confused as to which elements were which, i.e. "live" vs. looped vs. prerecorded).