The Iron Horse rides again: The storied Northampton club will reopen at last, May 15
By STEVE PFARRER Staff Writer In late March, the fabled Iron Horse Music Hall, slated to reopen in mid May, was still a pretty raw construction site. Boards, pipes, boxes, and other materials were piled on the floors, along the walls, and on tables. Extension cords to...
Stagestruck: Bright Half Life
Tanya Barfield’s brief two-character play “Bright Half Life,” at Silverthorne Theater, looks at the span of a relationship through a kaleidoscopic lens – not as an arc but in an ever-changing firmament of fleeting moments.
Stagestruck: Singin’ in the Storm
K and E Theater Group’s current production of he musical “Cabaret” at the Northampton Center for the Arts features a superb ensemble who adroitly capture both the show’s infectious vitality and its painful trajectory.
Stagestruck: Identity Crises
Two comedies now playing in the Valley turn on mix-ups and plot twists. “Don’t Dress for Dinner” is a sex farce set in the French countryside. “he Pirates of Penzance” is an operetta set in the hometown of “Arrr!”
Stagestruck: Ah, Wilderness! – race-blind or race-conscious?
Hartford Stage, like so many other theaters across the country, is having a reckoning with the upheavals of the past year-plus and has come to a tardy recognition that Black lives matter, on the stage as on the street.
Back from the Edge – Gateway City Arts almost died last year. Now it’s being reborn.
The 19th-century mill building on Holyoke’s Race Street that’s now home to Gateway City Arts almost died last year, a victim of the pandemic. But it’s now coming back to life. And for artist and co-owner Vitek Kruta, the whole building has become his canvas.
Stagestruck: An Absurdity of Chairs
An ancient couple, known only as Old Man and Old Woman, are living in bleak isolation in what seems to be a post-apocalyptic time in which all of civilization – or at least Paris – has been destroyed. They are eagerly awaiting the arrival of the survivors, an assortment of guests they’ve invited to hear a mysterious “message” from the Old Man that will save the world, or “what’s left of it.”
Stagestruck: Tricky Treats
A Halloween basket of goodies in the area this weekend and next – from ghost stories imagined and real, to plays witchy and weird, plus a one-night Happening.
Stagestruck: Voices on the Wind
WAM Theatre’s press kit includes advice on how to approach reporting on their production of “Kamloopa.” A statement by the playwright, Kim Senklip Harvey, a member of the Syilx and Tsilhqot’in Nation centered in British Columbia, outlines “Protocols for entering the Indigenous Artistic Ceremony” – not only in general but for this play specifically. Top of the list: “Indigenous protocol is to be respected. Period.”
Stagestruck: Taking Off
Mrs. Joe Bradshaw – née Shirley Valentine – is talking to the wall in her working-class Liverpool kitchen. She’s bored, lonely, dissatisfied and unfulfilled. Her kids are grown and gone, and her husband – well, she might as well be talking to the wall.
The solar divide
When it’s right in front of you, like the nine decaying cherry trees on Northampton’s Warfield Place that the city of Northampton recently removed in order to rebuild the road and sidewalk, residents lose their minds. Some likened the tree-cutting “violence” to napalm...
Sessions
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Valley Advocate Sessions Podcast – Blame Cadence
Blame Cadence is a one-woman chorus of looped soulful a cappella pop.
The V-Spot: I Told My Boyfriend I’d Try Monogamy, But …
When a monogamous person hears the telltale phrase “We should see other people,” they’re more likely to hear “I’m breaking up with you” and not “… AND keep seeing each other in an open and mutually satisfying relationship!” Because monogamy has long been the preferred Western relationship style — what with the institution of marriage and fairytales — the monogamous mindset is a strong one that many of us take for granted.
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Stagestruck Abroad: The Bard
When I was in London this month, I saw two Shakespeare plays. No, make that two and a half: the Bard’s most popular comedy, one of his least performed, and a new play in which he’s a character – and a plagiarist.
