The always innovative Opera Parallèle has taken Leonard Bernstein’s modest one-act opera Trouble in Tahiti from 1952 and framed it with complementary wrapper to produce an exciting entertainment. This evening of opera is not traditional in many ways, but it is delightfully sophisticated and well executed

Fear and Misery in the Third Reich can be described as Bertolt Brecht’s ghost arriving to warn us about the United States of Donald Trump turning into a fascist dictatorship. The play, now being staged by Haven Theatre, is a series of 18 loosely related scenes illustrating the progression of the German dictatorship from Breslau 1933 to Hamburg 1938.

Now 72, John Lithgow is a charming and much loved, award winning actor. His solo show Stories by Heart is both hilarious and poignant. It conveys stories told by his father during Lithgow's childhood. The show continues at American Airlines Theatre on Broadway through March 25.

Soave Bolla once was an inexpensive wine with little depth or complexity. It was an accepted wine and used often for parties and entertaining. Times have changed, although Soave Bolla has remained the same. Winemakers have been lured to the volcanic soil that is in the Soave region and brought Soave and other varieties, like Durello, to new heights.

For the past year the Berkshire based photographer, David Ricci, has been working on a large format, expensive and ambitious book. It has a working title of Edge of Chaos and surveys four decades of his oeuvre. During a studio visit we viewed the work and how it is evolving into a publication.

The soprano Pretty Yende is one of the more sensational discoveries at the Metropolitan Opera this decade, wowing audiences with her sweet tone and superlative bel canto technique since making her debut in the company’s January, 2013 revival of Rossini's Le comte Ory. This month, she sings Adina in the revival of Donizetti’s L’Elisir d’Amore, a charming love story that maintains its front rank among the most popular Italian operatic comedies.

One Drop is a family drama with music by Andrea J. Fulton. It brings to life the politics of a young mixed-race man in post-reconstruction Louisiana. He bravely risks love despite the bigotry of the community around him.

History comes to vibrant life in Theatre Lab's fun, funny and touching production of The Revolutionists. Colorful, visually appealing production is on stage at university's professional resident company through Feb. 25. Gunderson is the most-produced playwright for the 2017-2018 theater season in the U.S., according to American Theatre magazine.

The news of a "compromise" that really wasn't on Friday sent shock waves through the local, national and global art world. Other than the sale of Rockwell's "Shuffleton's Barber Shop" to an undisclosed museum, the Berkshire Museum got a green light to sell the 39 other works at Sotheby's. While morally and ethically flawed director, Van Shields, and board chair, Elizabeth McGraw, will proceed with catastrophic plans to gut the collection to raise $50 million. They will trash and rebuilid the museum creating its populist/ vulgarian New Vision.

The tall grey walls which harbor the rotating rooms of a medieval manor are striking. They contain the action in the manor and offer opportunities for hide and seek. The Lord is known here as The Protector. Oddly in the medieval time, one of the King's services to the Lord was protection. The use of this word is one of the deliciously ambiguous elements of George Benjamin's opera, Written on the Skin, which has arrived in the US in Opera Philadelphia.

New York eagerly awaits the annual visits of the superb Chicago Symphony Orchestra and its iconic conductor, Riccardo Muti. At Carnegie Hall they did not disappoint. The second program began with the Overture to I vespri sicilliani. Verdi is a specialty of the Maestro's and he brought forward drama from hidden places.

A compromise is a deal that neither side is happy with. Other than a few hard fought concessions the Berkshire Museum will now gut the museum and its collection in pursuit of its vulgarian, populist New Vision. It's tarnished leadership, including director, Van Shields and board president, Elizabeth McGraw, will have a tough job earning back the trust and support of a community which they so adroitly alienated.

Playwright John Kolvenbach is a New Yorker with a strong spiritual link to Magic Theatre as a major interpreter of his plays. “Reel to Reel,” directed by Kolvenbach, is their fourth production of his work and the second world premiere. Its novel structure and content reveal a compact, intimate conversation piece of sharp ripostes that excites and provokes. The acting and creative designs of this production are stellar.

The Bohemian National Hall was the setting for a glorious chamber music program which gathered together six superb artists to play, what first violin Philippe Quint declared might be the future of 21st century performance programs. We would do well to look and listen carefully to the under-exposed Russian composers Anton Arensky and Sergei Taneyev.

This brief but problematic play by Nick Payne has overly ambitious content. It has top heavy themes from the time/space continuum, to the infinite possibilities of human interactions and quantum physics. There are mixed results supported by an excellent production at TheatreWorks. While frustrating to sit through its ambitious themes linger in aftershocks long after leaving the theatre.

Several years ago Nice Girl by Melissa Ross was a finalist for the Primus Prize for oustanding new plays awarded by the American Theatre Critics Association (ATCA). It is being given a heartfelt and down-to-earth production at Chicago's Raven Theatre. The four actors carry off the middle class Boston accents almost perfectly, thanks to the work of dialect coach Jason K. Martin.

The Metropolitan Opera opened its lone Wagner offering of the 2017-18 season on Monday night: a revival of the extraordinary 2013 François Girard staging of Wagner's Parsifal. This production was acclaimed when it opened, for its stunning visuals (including a lake of stage blood in Act II) and its potent, spare message. It was also the second opportunity for the Met's new maestro-designate, Yannick Nézet-Séguin, to prove his mettle with Wagner's music, this time conducting the composer's final opera.

Audiences will possibly find many behaviors in Born Yesterday less acceptable and more abhorrent than in earlier times. But along the way, they will be mightily entertained by a powerful production. And for those of us with a lot of miles on our shoes who wonder how a stage show can compete with the great 1950 movie cast of Judy Holliday, Broderick Crawford, and William Holden, just sit back and enjoy the performances.

In a star studded program yet again Williamstown Theatre Festival brings Broadway to the berkshires. The season starts on June 26 and runs through August 19. There are three Main Stage productions and four on Nikos Stage. There will be a Main Stage world premiere musical;, Lempicka, as well as a new play , Seared, by Therese Rebeck on the Nikos Stage. Casting includes Mary-Louise Parker, Steven Pasquale, Jessica Hecht, Brooks Ashmanskas and Matthew Broderick.

The appearance of famed British actor and multiple Tony winner, Mark Rylance, is always a much anticipated event. Accordingly, the run of Farinelli and the King is mostly sold out though a run that ends on March 25. The script by his wife, Claire van Kampen, entails a bonkers king, and his queen allegedly having an improbable affair with the castrato, Farinelli, who has abandoned his career to perform nightly for the king. Our critic was not amused.

Clark Gable Slept Here is an unabashedly penetrating satire about the cutthroat world of Hollywood. A talented cast shines in a production of the play at Main Street Players in Miami Lakes. The company, which turned professional last year, delivers a fast-paced, furiously funny mounting of Michael McKeever's play.

The blind date actually took place on November 19, 1985, in Geneva. Goodman Theatre’s world premiere of Blind Date by Rogelio Martinez, directed by Robert Falls, takes us through the tense period and the negotiations leading up to that summit—and finally, briefly, the summit itself.

Orpheus Chamber Orchestra invited Tine Thing Helseth, a star trumpeter, to join them at Carnegie Hall. Clarion tones rang out at Helseth displayed her consistently singing instrument with a special touch.

Julia Cho’s play is often successful, yet the fantasies become less effective as the play goes on even though they are ratcheted up. Despite reservations about the play, the production is excellent.

Center Rep has produced a sharply drawn realization of Lucas Hnath’s Obie winning play. The story line is riveting, and director Markus Potter’s pace is brisk and assured.