Reimagining Adam Guettel’s beloved song cycle

Myths and Hymns is practically begging to be interpreted and reinterpreted on stage.

Written by composer-lyricist Adam Guettel (The Light in the Piazza, Floyd Collins), it’s a song cycle that uses mythology, religious allusions, and the lyrics to classic hymns to explore massive themes like ambition, love, and death. Yet for all their all grandeur, the songs are easily accessible, influenced not only by European art songs and show tunes, but also by gospel, R&B, and Latin music.

As of today, however, there have only been sixteen official performances of Myths and Hymns in New York City, and those were in 1998, when the show was called Saturn Returns and got a brief concert staging at the Public Theater. Since then, a celebrated recording featuring Kristen Chenoweth, Audra McDonald, and Billy Porter has carried on the music’s legacy, but that’s just not the same as a living, breathing production.

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Once again, Phillip Boykin stars in “Porgy and Bess”

At the curtain call of a recent preview of The Gershwins’ Porgy and Bess, actor Phillip Boykin gave a dainty curtsy. The crowd was delighted, since they’d just seen him play the burly, brutal Crown. “I want to let the audience know that I’m not really that bad,” says the actor, who describes himself as someone who loves to laugh, give, and cook.

So how does this nice guy play a villain eight times a week? For one, he doesn’t consider Crown a villain: “[He's] a regular person just like everybody else.”

Crown, Bess’ lover, sets this classic story in motion when he murders a man and goes into hiding. Bess must find a new home in Catfish Row, a rundown tenement in South Carolina, so she turns to Porgy, a disabled beggar. They fall in love, and there are violent consequences when Crown returns.

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The Voca People try to reach everyone

How do we define “universal entertainment?” What makes a show reach all generations on every continent?

Plenty of artists are trying to answer those questions. If they succeed, then they can reach millions (and make a fortune in the process).

“It’s like a Coca-Cola formula,” says Lior Kalfo, and he may have brewed the magic potion. An Israeli writer, director, and performer, he’s the co-creator of the international hit Voca People, a “vocal theatre performance” that blends a cappella singing, clowning, and popular music.

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Broadway vet David Chase explains this vital position

As a young man, David Chase told a Broadway dance arranger he wanted to move to New York and become a dance arranger himself, even though he didn’t really know what a dance arranger does. Very few people do, although dance arranging is an essential part of a Broadway musical.

Despite what the title may suggest, dance arrangers do not arrange steps or routines. They work with music.

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After 14 years, “Death Takes a Holiday” hits the stage

Shortly after the musical Titanic opened on Broadway in 1997, its composer-lyricist Maury Yeston and bookwriter Peter Stone were looking for their next project together. “We really felt that having done the complete blow-out, no-question-about-it, 36-people-in-the-cast, 26-people-in-the-orchestra, massive grand epic musical, we really wanted to do a chamber piece—something really small,” Yeston says. Stone suggested the 1928 Italian play by Alberto Casella, Death Takes a Holiday. In the show, Death takes human form and vacations to an Italian villa where he falls in love.

At first, Yeston needed persuading:”I said, ‘Look. I don’t want to write this. It’s death death death.’ And [Peter] said, ‘No no no. To me it’s holiday holiday holiday,’”

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