Under the baton of conductor Kazem Abdullah, the opera by Charles Wuorinen, with a libretto by Annie Prouix brings to operatic life the love story between two Wyoming cowboys that Prouix so long ago brought forward in a sweet and simple short story. I’m guessing most at the New York City Opera has not come to see Brokeback Mountain because of this piece of fiction writing but because of that gorgeously crafted 2005 film directed with such poetic beauty by Ang Lee and starring Jake Gyllenhaal, Heath Ledger, and Michelle Williams. The opera, as directed by Jacopo Spirei (Wexford Festival’s I Pagliacci) resonates deeply, especially in the deep discomfort and isolation these two struggling men come face to face with up on that mountain over one summer. It’s strangely complex and harsh in sound, not the romantic or lush music and lyrics that I was imagining, but something that connects more to the hard life and sharp surfaces of that foreboding mountain that exists at its core. It rarely seems far away on the Rose Theatre stage as orchestrated by scenery and costume designer, Eva Musil (Salzberg State Theatre 2015-16) with appropriate flat and harsh lighting by designer Susan Roth (Robert Ward’s The Crucible). The two have crafted a somewhat clumsy vista to operate on, shoving and pulling on numerous set pieces that visually work and do the job but never float. I’m guessing a higher budget would have expanded the grace and ease of the transitions but all and all, the feel and textures do the piece justice and are rightly suited to the sound and dynamics presented. I wish it had more beauty in its vistas, but the roughness of the upfront with the wide expanse of sky behind seems relevant and maybe more in tune with the crushing score.
Tenor Glenn Seven Allen (Pontius Pilate in Casa Mañana’s Jesus Christ Superstar) is solid and perfectly cast, embodying the rodeo swagger of handsome Jack Twist and his wide-eyed optimistic desire for creating a world based on his true desire and passion. He is electrifyingly the center of attention on and off that mountain, drawing our eye as he positions himself with his Marlboro Man cocky stance that masks his need just below the surface. He is powerfully effective as the optimistic and eager young man, comfortable in his well toned skin, desperate to grab hold of the love he has finally harnessed and wants so much to hold on to. It’s an engaging and emotional performance that resonates lyrically and textually with an ease and power that gracefully jumps over the sometimes awkward lines that he has to sing.
The Canadian born Bass-Baritone Daniel Okulitch, who previously inhabited the role of Ennis Del Mar in Teatro Real, Madrid, finds the deeply defensive posturing in this simple man’s emotionality. He’s a man of few words, and although the libretto jumps widely around in intention and direction, he finds the true spirit of this sad lonely man and displays his pain with such clarity and resignation that our hearts break for him. That is until the final and sudden flourish of vulnerability and acceptance during his final aria. Draped in pain like the two shirts blood-stained in the closet, he wraps himself around the idea of Jake and holds him tight like the second skin he now has.
The others that fill out this impressive large cast are also exceptionally appropriate and well sung. Aguirre, sung by bass-baritone Chirtopher Job (Opera Fairbanks’ Die Zauberflöte) has just the right level of dismissal and distaste for Ennius and Jack. Glad to be rid of them for more reasons then their sheep handling skills. The two ladies in these cowboys’ lives register the exacting blend of love and disturbance needed to encompass the denial and engagement they both desire. Soprano Heather Buck (title role in Rihm’s Proserpina) as Alma Beers and Mezzo-Soprano Hilary Ginther (Philadelphia Opera’s MASS) as Lureen impress, although, as with most of this opera they are saddled with a libretto that doesn’t offer subtlety or ease in their transitions. At moments they both come off as posturing or harsh, whereas the film gave them much more opportunity for depth.
This might be the over-riding problem with this haunting Brokeback Mountain. And maybe this is one of the qualities that come out of translating such a well-known film drama to the operatic world. There seems to be an understanding that we know where this is going, and the plot doesn’t have to guide us there like a musical often does. This opera highlights moments of intense emotionality and jumps the deep ravines and crevices in this mountainous story. In the acceptance of these constructs, the edgy and powerfully haunting drama is unleashed mainly due to these two magnificent and magnetic cowboys at the center of this love story. There love is as deep and disturbing as this mountain is high and dangerous.
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Cabaret
Live From The Hotel Edison Times Square Chronicles Presents American Idol Contestant and Going Bacharach’s Alyssa Wray
Live From The Hotel Edison Times Square Chronicles Presents, is filmed from the Hotel Edison and is a podcast extension of T2C. We are back after a small hiatus.
Today on Live From The Hotel Edison Times Square Chronicles Presents, we meet Alyssa Wray. Alyssa is a singer, actor, artist, and extremely clumsy romcom enthusiast from small town Kentucky, currently residing in NYC. You may have seen her in 2021 on ABC’s “American Idol” where she was a finalist (Top 9). Her regional credits include: Rocky Horror Picture Show (Magenta) at Bucks County Playhouse, Rent (Maureen) at the Palace Theatre, Murder Ballad (Narrator) at Prima Theatre, Songs for a New World (Woman 1) at the Gateway Playhouse. Other favorite performing credits include her New York City debut solo show at 54 Below, Alyssa Wray: Songs that Speak to Me. She is extremely grateful for her agents at DGRW, Sarah & Dave at Creative Talent Company, Link ’21, and my entire family and community back home as always.
See Alyssa in Going Bacharach at the Marjorie S. Deane Little Theatre running through November 29th.
I am so grateful to Alyssa Wray for her conversation, his joy of life and his art that captures the imagination.
We are so proud because the show and our guests are featured on the TV screens in the lobby and the hotel rooms.
Thank-you Magda Katz for videoing and creating the content to go live, Rommel Gopez and The Hotel Edison for their kindness and hospitality, Broadway HD and Dr K and at 200 West 54th Street for giving me back my health and my smile.
We have been named by Variety Entertainment News as one of Summer’s Best Picks in the category of Best Television, Radio, Podcasts. The company we are in, has made us so humbled, grateful and motivated to continue.
“The Daily Geek Report” named host Suzanna Bowling on the list of Most Engaging Hosts.
You can catch us on the following platforms:
Spotify:
Apple Podcasts:
G.H. Harding
EMMYS TO PRIME — As predicted, the 77-year-old Emmys have been jettisoned to Prime Video. That said, Prime Video had very little impact on the most recent show.
The recent show was good, but suffered from some of the worst writing I’d ever seen. Stephen Colbert boasting that his writers wrote for the show may have been a huge error in retrospect.
Don’t expect a host as marquee-level as Mariska Hargitay next year.
Check out the full story from Deadline:
https://deadline.com/2026/10/amazon-emmys-six-year-global-deal-1237147189/
Green Lantern
LANTERNS FINALE — HBO’s Lanterns finale aired Sunday and after 7 somewhat dismal and heavily re-written episodes from the original comic-lore, ended with a bang. If you’ve been following it as I have, I never, ever would have suspected that Kerry Kane (yes, related to Batgirl Kate Kane) killed Hal Jordan … or, did she?
Damon Lindelof, from Lost and The Leftovers wrote the script and as he has with everything he’s touched, put his rather remarkable stamp on it. Heavily re-written from what the original DC comic was, it enraged hard-core comic fans and delighted others with many pundits comparing the new narrative to what True Detective was like.
Kyle Chandler was great and it’d be awful to see him leave. That said, I don’t think there’s a chance in hell that HBO renews this show … but, anything can happen.
SHORT TAKES —- (via EW Weekly) Miley Cyrus’ new album has suffered a shocking fall from the top spot of the American charts. After debuting at No. 1 on the Billboard 200 last week, the 33-year-old’s latest LP, Bass Persuades, tumbled 156 spots to land at No. 157 on the current chart. The fall is one of the biggest for a No. 1-debuting album in history, surpassed by that of one other act: Bon Jovi, whose album This House is Not For Sale plummeted from No. 1 to No. 169 in its second week of release …
Michael Douglas
I love the so-called surprises in Michael Douglas’ new memoir One Helluva Ride. But there’s been so many reveals, I’m not sure you even have to read the book. Believe me, I know full well what a successful book tour entails, but I can’t even imagine what’s he’s held back. For one of the best takes on the book, check this out from the Hollywood Reporter: https://www.hollywoodreporter.com/movies/movie-news/michael-douglas-book-revelations-1236723340/?link_source=ta_first_comment&taid=6ac57d7ea871e000015a57ac&utm_campaign=trueanthem&utm_medium=social&utm_source=facebook&fbclid=IwY2xjawUzD89leHRuA2FlbQIxMABwZG9mBWJyaWQRMVFmemc0d0JpZzcyT0dUb2lzcnRjBmFwcF9pZBAyMjIwMzkxNzg4MjAwODkyAAEe7fEet4cwDHjNBlS_APTaVxthMJu3K7ZAeIhpZ4R3iZdIPsnPnR08QOPKBt0_aem_cQKCov058dhIZU8gVtsnvg PR-pasha David Salidor had several Douglas-tales to tell when he worked for Douglas’ Third Stone Records, with Doug Morris, Ahmet Ertegun, and Douglas’s own PR-rep Allen Burry and he says they were all fun … From one of the best writers around,
Roy Trakin on Digger: Alejandro Iñarritu’s “Digger” is neither misunderstood masterpiece nor unmitigated disaster, but a white elephant of an art film that has echoes of “Dr. Strangelove” and “Synodoche, New York” and recalls George S. Kaufman’s famed quote about “satire closing on Saturday night.” Definitely worth seeing on a big screen for Tom Cruise’s over-the-top performance and monologue about our need for oil. Its dystopian corporate theme adds an extra layer of irony given the backdrop of Skydance’s birth, making it one of the final Warner Bros. movies before the merger with Paramount. I wasn’t bored, and at $7, it was a bargain … Guess Who Don’t Sue: What artist whose latest record is pressed on red vinyl is lobbying for a new artist-Grammy nomination? It’s funny when most Grammy-voters haven’t even been serviced nor heard the record as the artist’s team most likely didn’t even know that had to happen first … No big surprise Aerosmith is reuniting for a pair of shows at LA’s Hollywood Bowl. Tyler was great as an American Idol judge (seasons 10 and 11 with JLo and Randy Jackson), but I’m sure got very restless with the band somewhat retired … RIP Eva Marie Saint … Happy Bday Heather Moore.
NAMES IN THE NEWS — Al Roker; Sean Hayes; Debbie Gibson; Tom & Lisa Cuddy; Jane Blunkell; Jackie Romeo; David Adelson; Donald Johnson; Paul Morphos; Jim Yukich; Steve Leeds; Deborah Silver; Brad Balfour; Todd Sharp’ Daryl Hall; Ken Sharp; John Hughes; and CHIP!
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Cabaret
Deborah Cox Brings Star Power to The New York Pops Underground for a Night of Music That Matters
There are evenings when New York’s cabaret scene delivers more than a fabulous performance, and last night at 54 Below, The New York Pops Underground proved that great music can do considerably more than entertain. With Grammy and Tony-nominated powerhouse Deborah Cox commanding the spotlight, an intimate evening of music, dinner and philanthropy became a celebration of the next generation of performers.
Deborah Cox
Deborah Cox
Cox, whose extraordinary career has taken her from recording studios to Broadway stages in Aida, The Wiz and Titanique, brought her formidable vocal talents to the annual fundraiser, offering the kind of star power that makes a room feel considerably more glamorous. With music direction and arrangements by Geoffrey Ko, the evening combined the intimacy of cabaret with the excitement of hearing one of the industry’s most distinctive voices up close.
Deborah Cox
Deborah Cox
Of course, an evening featuring Deborah Cox hardly needs an additional attraction, but The New York Pops had something even more meaningful in store. Opening the festivities was the PopsEd Alumni Ensemble, a group of talented young musicians who have participated in the orchestra’s educational programs. Their appearance was more than a charming opening act. It was a living demonstration of exactly what the evening was designed to support.
Steven Reineke
The alumni represent the lasting impact of Kids on Stage, The New York Pops’ youth mentorship program, which introduces students from all five boroughs to the professional music-making process. Participants experience everything from intensive rehearsals to the extraordinary opportunity to perform alongside the orchestra on Carnegie Hall’s legendary stage. For a young musician, that is considerably more than an extracurricular activity. It is an invitation to imagine an entirely different future.
Quadair Dunn (Student Speaker)
Quadair Dunn (Student Speaker)
Guests gathered for a 6 p.m. reception before settling in for the 6:30 p.m. performance and dinner, complete with wine pairings. The combination of fine dining, cabaret and a worthy cause gave the evening the feel of an elegant New York supper club, with the added pleasure of knowing that the night’s indulgences were helping put instruments, instruction and opportunities into young hands.
The PopsEd Alumni Ensemble: Brian Worsdale, Director, Kids on Stage, with Sean M., Alto Sax, Nicolette S., Tenor Sax, Dean S., Baritone Sax, Corrado S., Trumpet, Leon M., Trumpet , Gabriel R., Trombone, Barnaby D., Piano , Stephen S., Bass , Sebastian D., Drums, Ellington C., Drums
The PopsEd Alumni Ensemble: Brian Worsdale, Director, Kids on Stage, with Sean M., Alto Sax, Nicolette S., Tenor Sax, Dean S., Baritone Sax, Corrado S., Trumpet, Leon M., Trumpet , Gabriel R., Trombone, Barnaby D., Piano , Stephen S., Bass , Sebastian D., Drums, Ellington C., Drums
Chaired by David Blakelock and Andrea Reiser, The New York Pops Underground benefits PopsEd, the orchestra’s extensive music education initiative. Since its founding in 1991, PopsEd has reached more than 100,000 New York City students, providing access to music education, artistic mentorship and performance experiences across communities and generations.
Robbie Gordy
Robbie Gordy
That figure deserves attention. In a city where arts education is too often treated as a luxury rather than an essential part of a child’s development, The New York Pops has spent more than three decades making a compelling argument for its importance. Music teaches discipline, collaboration, confidence and the ability to listen. More importantly, it gives young people a means of expression that can stay with them for the rest of their lives.
Kristina Leopold and Sara Gallo
The evening also offered a stylish prelude to The New York Pops’ 2026–27 season at Carnegie Hall, which promises an appealing mix of Broadway glamour, Hollywood nostalgia and contemporary musical talent. On October 23, Lena Hall joins the orchestra for 007: James Bond Forever, followed by One Night Only: An Evening with Denée Benton and Jordan Donica on November 20.
Deborah Cox
Deborah Cox
The holiday season arrives with Sleigh Bells Ring, featuring Derek Klena and Lindsay Mendez on December 18 and 19. The new year brings Introducing… Jimmie Harrod and Marisha Wallace on February 5, 2027, before the orchestra celebrates two cinematic giants with John Williams and Steven Spielberg: Movie Magic on March 5. All performances take place in Carnegie Hall’s Stern Auditorium/Perelman Stage.
Deborah Cox
Deborah Cox
But the real beauty of The New York Pops Underground lies in the connection between the established artist and the emerging one. Deborah Cox may have been the evening’s marquee attraction, but those young PopsEd alumni represented something just as exciting: the talent waiting for its own moment in the spotlight.
Deborah Cox
Deborah Cox
And in a city that has launched countless musical careers, helping the next generation find its voice is certainly worth raising a glass to.
Deborah Cox
After all, tonight’s opening act may very well be tomorrow’s headliner.
It was a magical night in New York when two extraordinary artists shared the stage at the Rose Theater at Jazz at Lincoln Center, one of the most beautiful theaters in New York City. This elegant jewel-box venue provided the perfect setting for an evening filled with energy, soul, and unforgettable music. Catherine Russell and her special guest, Cyndi Lauper, brought together two very different musical worlds, creating a concert that was thrilling from beginning to end.
Catherine Russell is jazz royalty. Music is in her blood. Her father, Luis Russell, was the longtime musical director for Louis Armstrong, while her mother, Carline Ray, was a pioneering multi-instrumentalist and vocalist. With such a rich musical heritage, Russell has developed a distinctive style that combines jazz, blues, swing, and the great American songbook.
Russell began recording and touring as a backup singer for major artists in 1980. In 2005, she launched her solo career and has since released nine albums. Two of her projects, Harlem on My Mind and Alone Together, earned Grammy nominations for Best Jazz Vocal Album. Beyond performing and recording, Russell is also dedicated to education, teaching master classes and private students and sharing her knowledge with the next generation of musicians.
One of the pleasures of Russell’s performance was the way she reached back through musical history. Her repertoire traveled from the 1920s through the 1950s, introducing the audience to songs that have become important pieces of the American musical heritage. She brought these vintage selections to life with her distinctive voice, impeccable phrasing, and deep understanding of the music.
Among the highlights was “Nobody’s Fault But Mine,” a 1927 gem associated with the legendary blues musician Blind Willie Johnson. Russell also performed “After Hours,” made famous by Sarah Vaughan, “Don’t Take All Night,” associated with Nina Simone, and “Trust in Me,” a song famously recorded by Dinah Washington. Each selection demonstrated Russell’s remarkable ability to honor the original artists while making the songs unmistakably her own.
Joining Russell for this special evening was the legendary Cyndi Lauper. A groundbreaking Grammy, Emmy, and Tony Award-winning songwriter and performing artist, Lauper has sold more than 50 million records worldwide. In 2013, she became the first solo woman to win the Tony Award for Best Original Score for Kinky Boots. She was inducted into the Songwriters Hall of Fame in 2015 and received a star on the Hollywood Walk of Fame in 2016.
One of the evening’s most memorable moments came when Russell and Lauper joined forces to perform Lauper’s mega-hit “Time After Time.” Hearing these two distinctive voices together transformed the familiar song into a particularly moving musical moment. The performance brought the audience to its feet, creating one of those special live-concert moments that performers and audiences share together.
The combination of Russell and Lauper made for an especially exciting evening. Each artist brought her own personality and musical identity to the stage, yet they complemented one another beautifully. Their performances demonstrated that great music can cross genres and generations.
They were backed by an extraordinary group of musicians: Anthony Hervey on trumpet, John Allred on trombone, Evan Arntzen on reeds, Lauren Sevian on baritone saxophone, Matt Munisteri on guitar, Ben Paterson on piano and organ, Tel Ronen on bass, and Dominick “Domo” Branch on drums.
The musicians were not simply there to accompany the singers. Each was given generous opportunities to step into the spotlight, and their solos added excitement, depth, and spontaneity to the concert. The band created a powerful musical foundation that allowed both Russell and Lauper to shine.
The Rose Theater itself added to the magic of the evening. Its intimate yet grand atmosphere makes it an extraordinary place to experience live music, and on this night, the theater seemed perfectly matched to the artistry onstage.
This was more than a concert—it was a celebration of musical history, individuality, and the continuing power of live performance. Catherine Russell and Cyndi Lauper proved to be a thrilling combination, delivering a night that was truly magical and one that the audience will not soon forget.
Gerrilyn Sohn brought her cabaret show Timeless: A Tribute to Bernadette Peters to Don’t Tell Mama in New York City, celebrating one of Broadway’s most beloved performers while making the evening distinctly her own.
Sohn did not attempt to imitate Bernadette Peters. Instead, she sang the songs that helped make Peters famous, bringing them to life in her own voice and with her own personality. It was a refreshing approach to a tribute show. Rather than trying to duplicate an iconic performer, Sohn showed why these songs continue to resonate with audiences.
Sohn has long been fascinated by Peters and feels a special connection to her. During the performance, she shared with the audience that she had actually met Peters and was deeply impressed by her warmth and friendliness. That personal connection gave the evening an added dimension, making the tribute feel genuine and heartfelt rather than simply a collection of songs associated with a famous star.
Gerrilyn’s performance was further enhanced by several duets with her talented musical director, Tracy Stark. Their musical chemistry added another layer of warmth and spontaneity to the evening. Stark was not only an accomplished musical director but also a wonderful partner onstage, complementing Sohn’s voice and helping bring the songs to life.
The repertoire celebrated the extraordinary range of material associated with Peters, from sophisticated Broadway numbers to songs filled with humor, romance and emotion. Sohn’s performance demonstrated her affection for the material while allowing her own vocal personality to shine through.
The evening was directed by Lennie Watts, whose experience and understanding of cabaret helped shape the performance. Tracy Stark served as musical director, with Marco Panascia on bass.
Timeless was ultimately less about trying to become Bernadette Peters and more about celebrating what makes Peters such an enduring theatrical icon. Gerrilyn Sohn’s admiration was evident throughout the evening, but so was her individuality. She paid tribute to Peters by singing these memorable songs in her own voice—and that made the performance a tribute worth hearing.
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