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Geddy Lee toured all over the world with Rush from 1968 all the way to 2018 when the Canadian Rock and Roll Hall of Fame band called it quits.Now, five years later, he’s on his first-ever book tour.Lee, 70, is taking his memoir “My Effin’ Life” on the road to venues all over North America up until Dec. 7.He kicked off the 14-show run at New York City’s Beacon Theatre on Monday, Nov.

Brett Goldstein fans don’t know the comic from the stage.No, the majority of his audience is likely familiar with his work on Apple TV’s “Ted Lasso” where he plays hard-nosed, foul-mouthed footballer turned coach Roy Kent.On top of that, he also co-created and wrote for the Jason Segel and Harrison Ford series “Shrinking” for the network.However, long before the 43-year-old Brit inhabited the role that netted him a pair of Emmy Awards for Best Supporting Actor, he was a stand-up comedian.And now that he’s made a splash stateside, he’s touring his act all over North America as part of his ongoing ‘Second Best Night Of Your Life Tour.’Given that we’re such big fans of his persona, we had to see what his act was like.So, the New York Post sent Brett Goldstein aficionado Angela Tricarico to check out his Friday, Nov. 10 gig at New York City’s Beacon Theatre.“Don’t expect to hear much about ‘Ted Lasso’ and ‘Shrinking,’ even now that the strike is over,” Tricarico shared.

Fat Ham, James Ijames relocates Shakespeare’s Hamlet from the kingdom of Denmark to a modern-day backyard in “North Carolina, or Virginia, or Maryland, or Tennessee.”The playwright infuses the tale with the culturally specific atmosphere of Black Americana — pork on the grill, brown liquor flowing, and Frankie Beverly singing “Before I Let Go” as a grown and sexy couple grooves to the music. But instead of a pondering prince, we have melancholy only-son Juicy (Marquis D.

Confederates renders a frank, witty, and delightfully twisted exploration of racial biases, be they unconscious or firmly resolved.The play, directed by Stori Ayers in a riveting new production at Mosaic, derives some suspense from the anticipation that its parallel plotlines might connect. But whether or not the individual stories of embattled college professor Sandra (Nikkole Salter) and enslaved rebel Sara (Deidre Staples) actually meet, their experiences as Black women, though separated by centuries, are still intertwined.Even Nadir Bey’s evocative set design suggests as much, combining Sandra’s office and Sara’s plantation cabin within the same space.

Top Gun set to a musical theater score. After that subsides, you might then wonder if this is too round a peg trying to fit into too square a hole.And yet to see Jeanine Tersori’s Grounded, a co-production with the Metropolitan Opera, is to be dazzled by concept and execution alike.

Rustin, the long-awaited biopic directed by George C. Wolfe, and written by Julian Breece and Dustin Lance Black, drives home the point that the arc of U.S.

POTUS: Or, Behind Every Great Dumbass Are Seven Women Trying to Keep Him Alive.Politics ain’t for babies, especially at the highest level, so blowing off steam by cursing like a sailor just seems to be what gets an overtaxed, under-appreciated staffer through a tough day.And this day, as it careens ahead into one disaster after another, will be especially tough for staffers, the First Lady, and POTUS himself, who never actually appears onstage. But he gets the whole shitstorm started by referring to his wife as “cunty” — and not in a good way — during a meeting with foreign dignitaries.Managing potential fallout from the flub falls to the President’s harried Chief of Staff, Harriet (Naomi Jacobson); officious press secretary, Jean (Natalya Lynette Rathnam); and, begrudgingly, the First Lady, Margaret (Felicia Curry).A million other complications, from petty to Presidential, threaten to further derail the day: determined journalist and new mom, Chris (Yesenia Iglesias), hiding out in the West Wing; an unexpected visit from POTUS’ much-younger mistress, Dusty (Sarah-Anne Martinez); and a really unexpected visit from his ne’er-do-well lesbian sister, Bernadette (Kelly McAndrew).Meanwhile, the President’s secretary, Stephanie (Megan Hill), tries to control the increasing flow of traffic in and out of the Oval Office.

The Chameleon least expects it, the roof of their house caves in, and not just figuratively.Though, without question, the sudden ceiling collapse serves as a metaphor for the fragile, imperiled state of several family members and relationships inside the Golden-Kruger household in suburban Long Island.Gathered for a “Jewish Christmas” dinner of takeout Chinese, and celebrating a milestone job offer for prodigal daughter Riz (Dina Thomas), the family had already seen the mood marred by turbulent outside interruptions.But a hole in the roof is also an actual catastrophe for everyone in the house, another WTF, post-dinner disaster in a night filled with them, meant to be played for angst and laughs — the measure of which can be hard to read in director Ellie Heyman’s world-premiere production at Theater J.Despite the awkward live execution of the roof caving in on Andrew R.

Merrily We Roll Along. Sondheim acolytes are well versed in the show’s difficult past that dates back to the original 1981 Broadway production.Hal Prince, a longtime collaborator with Sondheim, mounted the show with a teenage cast who played the characters as both their younger and adult selves. It didn’t work.

Fellow Travelers unfolds volumes of engaging plot and story in its eight hour-long episodes. At the center of it all are Hawk and Tim, two well-matched yet wildly different men, who meet and become lovers in McCarthy-era Washington, D.C.Impeccably played by Matt Bomer and Bridgerton fave Jonathan Bailey, Hawk and Tim live an intense, forbidden love.

Orlando (★★★★☆) are having fun onstage, and their good time is infectious. Of course, Sarah Ruhl’s frolicsome, gender-swapping adaptation of Virginia Woolf’s novel Orlando: A Biography supplies a sound blueprint for the farcical shenanigans this company puts over heartily.The play also captures the romance and scope of the novel, as well as the ripe sexuality in the tale of Orlando (Mary Myers), whose journey toward their true self spans continents and centuries.

Dicks: The Musical (★★★☆☆) is exactly the silly, sex-obsessed, do-anything-for-a-laugh (including having Nathan Lane regurgitate ham into the mouths of puppets), song-happy spoof implied by the title. And that’s why it works.“Bravely written by two homosexuals,” according to the opening credits, the film stars those very same creators, Josh Sharp and Aaron Jackson, as identical twins Craig (Sharp) and Trevor (Jackson), separated at birth.

Follow the Protocol, set during the height of the Covid-19 pandemic. The Brazilian filmmaker, who writes, directs, and stars as protagonist Francisco, opens on a familiar pandemic scene: the mind-numbing nothingness of being stuck indoors.

Follow the Protocol, set during the height of the Covid-19 pandemic. The Brazilian filmmaker, who writes, directs, and stars as protagonist Francisco, opens on a familiar pandemic scene: the mind-numbing nothingness of being stuck indoors.

Purlie Victorious: A Non-Confederate Romp through the Cotton Patch (★★★★☆) is a complete con artist and long-winded orator. He’s got the best intentions.

Foe (★★☆☆☆), director Garth Davis’ sterile adaptation of the 2018 sci-fi novel by Iain Reid. Davis and Reid co-wrote the film, which unfolds like a novel, allowing ample space to imagine the inner lives of its characters, though the filmmakers might have done more to realize the world beyond married couple Hen and Junior, and the tall, handsome stranger who shows up uninvited one day at their isolated Midwest farmhouse.The year is 2065, and, predictably, fresh water and habitable land are globally scarce.

The Age of Adz, when he sings, “I would say I love you/but saying it out loud is hard,” and after a pause, concludes, “So I won’t say it at all.”Echoes of that brief and arresting expression of yearning can be found throughout his body of work over the last decade, whether he is grieving an intense personal loss or marveling at the cosmos itself.Although that finely tuned evasiveness around his own desire has long characterized his music, on his latest release Javelin (★★★★☆) he seems ready to say the quiet parts out loud.Stevens’ songwriting has always been lyrical, evocative, and rich in metaphor, so it should be no surprise that he has again delivered a collection of beautifully written songs.What is notable about his writing in Javelin is how intense and personal it is, containing none of the artful detachment of A Beginner’s Mind nor the grandiosity of its predecessor, The Ascension. Instead, he bares his soul with the same open-hearted frankness he brought to 2015’s Carrie and Lowell, his meditation on his complicated grief for his mother.Unlike Carrie and Lowell, it would be difficult to make the case that Javelin is really “about” anything more than Stevens’ need to be seen and understood.

The Boys is one of Prime Video’s greatest series on its platform.So it makes sense that the Amazon corporate overlords would mine the original comic from Garth Ennis and Darick Robertson for some way to extend the brand.Gen V (★★★★☆), a show about America’s most prestigious superhero college, makes it clear through blood, insanity, and pitch-black humor that this is definitely a spin-off of The Boys.Following a dangerous awakening of her power to control blood, Marie (Jaz Sinclair) gets the opportunity to leave her orphanage for kids with powers for Goldolkin University, a major step forward in her goal to become the first black woman on The Seven.When she arrives, Marie meets her roommate, Emma (Lizze Broadway), who is also a famous YouTuber, Little Cricket, where she showcases her ability to shrink.Together, the two meet the school’s top ten students, including the superpowered Golden Boy (Patrick Schwarzenegger), his mind-controlling girlfriend Cate (Maddie Phillips), bi-gender Jordan (London Thor and Derek Luh), and Andre (Chance Perdomo), the magnetic son of a famous alumni.While Marie’s initial hopes seem fruitful, Gen V constantly reminds you that this is the world of The Boys, almost too much so. Every happy moment is bookended by an insane and usually violent moment of trauma with some zinger or depraved joke.

Sackler family (who have also inspired shows such as Hulu’s “Dopestick” and Netflix’s “Painkiller”). The result should please fans of Flannagan’s past works (“The Haunting of Hill House,” “Midnight Mass”), and it also has a dash of “Succession” thrown in.

Tension (★★★★☆), is a welcome turn away from the conceptual back to a sound that might best be described as pure Kylie.The first single from Tension, the runaway pride anthem “Padam Padam,” should have been an early indication that the album to come was going to be a hit. In many ways it was Kylie at her best, delivering a straightforward, catchy song with a seductive premise and an inescapably addictive beat.Most of the album’s other tracks tick those same boxes, although few of them are as saturated with the level of faux-serious camp that made “Padam” inescapable for most of the summer.

Tension (★★★★☆), is a welcome turn away from the conceptual back to a sound that might best be described as pure Kylie.The first single from Tension, the runaway pride anthem “Padam Padam,” should have been an early indication that the album to come was going to be a hit. In many ways it was Kylie at her best, delivering a straightforward, catchy song with a seductive premise and an inescapably addictive beat.Most of the album’s other tracks tick those same boxes, although few of them are as saturated with the level of faux-serious camp that made “Padam” inescapable for most of the summer.

the 1954 big-screen classic starring Humphrey Bogart as Lieutenant Commander Philip Queeg, he of the nervously-twirled metal balls and questionable sanity.The movie premieres Oct. 6 on Paramount+ with Showtime (paramountplus.qflm.net/9WG5D0) — and Oct. 8 on Showtime (9 p.m.) — and features an all-star cast, including Kiefer Sutherland as Queeg and the late Lance Reddick, all of whom deliver bravura performances.

King of the Yees (★★★☆☆), making its D.C. premiere with Jennifer Chang’s lively production at Signature.By, about, and chock full of Yees, real and fictional, and set partly inside a Chinatown social club dedicated to bringing Yees together, King of the Yees digs deep at one family’s roots to harvest a universal tale of daughter-father love and admiration.

ad nauseam. And vampires take center stage: the most famous being Count Dracula, a creation by Victorian novelist Bram Stoker.Horror and comedy fans finally have an entertaining, though not terribly loyal, treatment of the classic novel in Gordon Greenberg and Steve Rosen’s zippy and zany Dracula: A Comedy of Terrors (★★★☆☆).But really, who wants a loyal adaptation when parody can be so much fun? After all, we’ve seen what happens when earnest writers try to adhere to the integrity of the original text.Long-time theater-goers may recall 2002’s Dance of the Vampires, the short-lived (six weeks) Broadway flop starring Michael Crawford with music by the king of melodramatic pop, Jim Steinman. Based on Roman Polanski’s The Fearless Vampire Hunters, the incredibly costly dud was never quite certain if it was straight-out melodrama or over-the-top camp.

Evita (★★★☆☆), Shereen Pimentel, in the title role, declaims not from a balcony of the Presidential Palace, but surrounded by risers of flowers stacked to the rafters.A luminous rose among a field of lesser blooms, Eva “Evita” Péron, addresses her nation to the triumphant strains of “Don’t Cry for Me Argentina.” Indeed it’s a triumphant moment for the Shakespeare Theatre’s production, directed by Sammi Cannold, building on her staged concert presentation of Evita for New York City Center Encores! in 2019, and a subsequent American Repertory Theatre production in Cambridge, Massachusetts this past summer.Finessing the First Lady’s appeal to her people, Pimentel’s voice is at its loveliest on “Don’t Cry,” while Jason Sherwood’s scenic design provides a gorgeous visual representation of Evita’s lofty status amongst the Argentinian masses.The stirring number reinforces the tune’s status as the crown jewel of one of Webber’s best-known scores, with a polished, patient rendition that belies the effort to deliver all an audience might hope for or want from a hit. Other gems in the score don’t gleam with the same care and intention, although the performers, backed by music director Mona Seyed-Bolorforosh’s 16-piece orchestra, have their moments.The warm baritone of Caesar Samayoa, as Presidente Juan Péron, booms confidently through the droll game of musical chairs depicting the military colonel’s rise to power.

Bathing in Moonlight (★★★☆☆), takes the road of least controversy to depict a relatively tame love that dare not speak its name between a devout pianist and her priest.Under Cruz’s bold direction of GALA Hispanic Theatre’s Spanish-language D.C. premiere, Hannia Guillén, as dutiful daughter and mom Marcela, and Raúl Méndez, as passionate Padre Monroe, still generate the heat of two bodies burning to be together but fighting their urges.The padre even delivers a sermon about laying down barriers to love, before embarking on his perilous path of questioning why those barriers exist in the first place.Cruz fuses elements of poetry, history, theology, and surreal dream imagery to serve the well-acted romantic melodrama, which often turns on a mere glance or lingering touch.

Titanic? Those of a certain age will recall the hype and hysteria of James Cameron’s 1997 film starring Kate Winslet and Leonardo DiCaprio. Lines formed at movie theaters around the world, many being turned away by sold-out notices.

Rotting in the Sun (★★★★☆). Cinema itself might soon go missing, Silva fears, portraying himself in this twisting tale of his own disappearance.

Atlantic City’s Etess Arena, Jon Stewart got in a good line about the evening’s lineup.“We’ve got the three stages of show business here tonight. Rehab, recovery and hospice.”The crowd laughed and the former “Daily Show’ host launched into 45 minutes of fresh, punchy material.However, like all good jokes, there was a kernel of truth to Stewart’s throwaway bit about his brief five-show tour with Pete Davidson and John Mulaney.Each act represented a different stage of adulthood and that evolution made for a fascinating three-course comedic feast for fans of the trio.To clue you in to what went down at the Sunday 7 p.m.

East Rutherford, NJ’s MetLife Stadium, Rock and Roll Hall of Famer Bruce Springsteen alluded to one of the few unfortunate breaks in his illustrious career.The music quieted and The Boss told the humorous story of how he was kicked out of his first band, The Rogues, way back in 1965.He laughed it off with “Sopranos” cast member and longtime E Street Band guitarist Steven Van Zandt but clearly this chip on his shoulder had a lasting impact.58 years later, no one in music works harder to put on a truly great show and this unparalleled effort does not go unnoticed.Starting at 7:55 p.m. as fans straggled into the massive New Jersey stadium with their $50 “Born In The U.S.A.” souvenir t-shirts, Springsteen and the E Street Band kicked the evening off with the rockin’, larger-than-life “Lonesome Day” and entertained the packed venue.Then, for nearly 2.5 hours, there was nary a break for the long-running ensemble.

the Pixies I was 12 and crowded around a desktop computer. A friend played a fan-made “Debaser” music video intercut with Luis Buñuel’s iconic surrealist short film “Un Chien Andalou,” referenced in the song. If you aren’t familiar: the quick flick is most famous for exactly the image that Black Francis seizes on.

Jonas Brothers say their new tour includes five albums in one night, they’re not kidding.Over the course of almost exactly three hours on Saturday, Aug. 12, at Yankee Stadium, Joe, Nick, and Kevin played at least a chorus, but often more, of 66 (!) songs.The setlist included every single track from albums “Jonas Brothers,” “A Little Bit Longer,” “Lines, Vines, and Trying Times,” “Happiness Begins,” and their latest “The Album,” plus recent non-album singles and, of course, “Year 3000.” They even made room for Nick to play “Jealous” off his self-titled solo album, and “Cake by the Ocean,” by DNCE, a Joe-fronted band.

Metallica hasn’t lost a step.The Rock and Roll Hall of Fame group stopped by East Rutherford, NJ’s MetLife Stadium for a pair of concerts on Friday, Aug. 4 and Sunday, Aug.

Osheaga Music and Arts Festival on Aug. 4-6 to join the masses for three days of non-stop music with over 50 artists performing over the long weekend.Here are just a few of our biggest takeaways from the multi-day extravaganza.Our favorite moment was easily Billie Eilish’s Saturday night headlining set that came with quite the surprise.Mid-show, the 21-year-old pop star paused to ask fans if they knew of a certain song…one that went something like, “Glock tucked, big t-shirt, Billie Eilish?”Enter Armani White.The rapper behind the mega single, “Billie Eilish,” joined Billie on stage to sing the iconic song together.Fans began screaming once White appeared out of seemingly thin air.

“It Was All A Blur” for the sake of a pun, but the night I spent at Madison Square Garden watching Drake live was truly unforgettable.On Wednesday, July 26, I had the honor of spending my first MSG concert in a VIP suite, with the best, unobstructed views of the “Certified Lover Boy” plus comfortable seating, food, drinks and a swift security check in. This made a huge difference for me, as it was my first time enjoying live music where I didn’t need to shuffle shoulder-to-shoulder with strangers — although, this crowd brought the energy and no-doubt the floor would have been a hype experience to say the least — and struggle to see over the taller patrons that always seem to get ahead of me.

The Bear‘s second season places us in a frigid Chicago winter, where our beloved, stressed chef Carmy (Jeremy Allen White) and his crew are hard at work turning their now-shuttered sandwich joint “The Beef” into “The Bear,” an upscale dining destination.The second season of Hulu’s surprise hit from Christopher Storer (Eighth Grade, Ramy) proves that without change, even the most timeless meals can go off.