Opera House show paves way for new view of Warren Street

HUDSON – Saturday, June 11, the Hudson Opera House opened its doors to “Warren Street,” an exhibition in which some 33 artists, many with local connections, take as their inspiration Hudson’s main shopping and dining street.

Richard Roth, the exhibition’s curator, said he was inspired by a body of work created by photographer Lynn Davis, who photographed every building on Warren Street in 1994 to document the city’s eclectic mix of architectural styles. From pyramids and other forms of architecture, to icebergs, Ms. Davis, a contemporary and friend of the late Robert Mapplethorpe, tackles large scale subjects with vigor and iconic style. Visitors to “Warren Street,” will get to see her 314-foot-long work in its entirety. Read more…

REVIEW: With classic timing, comic strip comes to life in ‘Charlie Brown’

You’re a Good Man, Charlie Brown/ Ghent Playhouse

GHENT PLAYHOUSE HAS a winner! To capture Charles Schulz’s particular brand of comic-strip subtlety (Peanuts) is too much to ask of anyone; but Clark Gesner in his musical “You’re a Good Man, Charlie Brown” has put his own mark on the characters; and, with director Judy Staber and her cast, they deliver a delightful production.

In Act I, the piece borrows a vaudeville tradition of enter/setup fast/punch-the-punchline/& exit fast. It tickles the funny bone and doesn’t tax anyone’s attention span. Later the writing gathers some hints of a through-line but not much, and we observers don’t miss it at all. Read more…

REVIEW: Curious casting undercuts classic ‘Fantasticks’ at Ghent

The Fantasticks/Ghent Playhouse

IT IS INDEED AN ODD production of “The Fantasticks” in which the actor playing the Mute delivers the most consistently able and interesting performance. In this case it is Lindsey Sikora who, throughout the evening, simply does and is — her lovely, serene face registering fantastical worlds without the person within having any need to judge or shine.

Yes, the show has some other compelling moments and attributes, including pianist Paul Leyden’s knowing theater-energy in the overture; the beauty of Michael Meier’s voice and person as Matt (The Boy); the way the young couple never acknowledges the irony embedded in the playwright’s flowery language; the excruciatingly effective scenes of the boy’s torture; and the hilarious dying and delightful goofiness of Paul Murphy, as Mortimer, the Man Who Dies. Read more…

Two figurative artists: New take on old form

ONCE AN ARTIST has acquired the basic skills of how to draw and to mix and apply paint, he or she still has to figure out what to say and how to say it. Figurative painting, which has often taken a backseat to abstraction and newer media, has reemerged in a fresh, new way, and the work of two artists currently exhibiting on Warren Street, Hudson, Vincent Ciniglio at the John Davis Gallery and Mark Beard at the Carrie Haddad Gallery, exemplifies this change.

Ciniglio, whose exhibition opens Saturday, January 8, spoke with The Columbia Paper at his studio in New York City’s East Village last week and invited us to preview his show which opens Saturday in Hudson. Read more…

REVIEW: Even lacking context, great activist’s words resound

Becoming Frederick Douglass/ Walking the dog Theater/Space 360, Hudson

A HANDSOME BLACK MAN steps behind the lectern and begins to speak with perfect diction, rolling out his rich baritone in a formal, carefully crafted manner.

Twenty-tenners are accustomed to it. We have merely to attend a college class or turn on our television sets to find smart, educated blacks doing the business of the nation. We take it for granted.

But, in the mid-nineteenth century, how astonishing, electric, and thrilling it must have been to hear Frederick Douglass tell his story, advocate for abolition of slavery, even make the case for equality for women! He dared castigate Christians for their slave-holding hypocrisy. He dared face white-supremacist contempt, hatred, greed, and willingness to whip his kind to a bloody pulp or string him up by a short rope. He dared display his intellect before ignorant masses convinced that he could not possibly have any. Read more…