In town for one performance only, The Fab Four—The Ultimate Beatles Tribute sends audiences on a time-bending trip to the 1960s soundtracked by the lads from Liverpool’s greatest hits and die-hard fan favorites. Emceed by an actor channeling Ed Sullivan, the multimedia production boasts a talented cast showing off their uncanny impersonations of John, Paul, George, and MacGyver. Live note-for-note re-creations of the group’s classic hits include renditions of “Can’t Buy Me Love,” “Yesterday,” “A Day in the Life,” and “Hey Jude.” With three costume changes, the show covers the Beatles' developing style, from the early days through Sgt. Pepper's Lonely Hearts Club Band to their brief stint as country band Uncle Ringo and the Hungry Blues. The touring production plays the palatial St. George Theatre, where the baroque furnishings offer plenty of murals, tiled fountains, and sculpted figures to keep eyes entertained before the show.
Art of the Stand-Up Comic brings together a quintet of gut-busting talents who elicit laughter in one evening of tag-team hilarity. Carole Montgomery shows off the wickedly deadpan sarcasm that has won her gigs on Comedy Central, ABC, and MTV, whereas the author of The Idiot's Guide to Comedy Writing, Jim Mendrinos, tickles ribs with wry observational rants. Voice actor extraordinaire Brian Scott McFadden has lent his talents to such films as Ice Age II and Robots and interlaces high-energy monologues with hilarious impressions and characters. Also taking the stage, the youngest female comic to ever perform on Comedy Central's Live at Gotham, Liz Miele, mixes self-deprecating sarcasm with cutting insight, and Lori Sommer shows off the improvisational powers that led her to cofound the renowned Red Tie Mafia Improv Troupe.
The art-deco splendor of Radio City Music Hall melds with the show's sets to create an otherworldly atmosphere Time praised as a "perfect union of site and spectacle." Backdrops of oversize gears and coiling snakes rise to the top of the 60-foot proscenium arch, and projections show off eerie sand paintings on the surrounding walls. Anthemic rock music by Australian electropop prodigy Nick Littlemore blasts through the pipes of the Mighty Wurlitzer, modified to twist ominously like a sinister American Bandstand dancer.
An almost sixteen million dollar renovation in late 2008 restored the Beacon Theater, an Upper West Side vintage movie palace, to its former glory. Built in 1928 to feature both films and vaudeville acts managed by Samuel L. Rothafel (the impresario behind Radio City Music Hall) the Beacon Theater drips with neoclassical, rococo and Orientalist design elements. The freshly remodeled house now seats nearly 3,000 patrons across three different levels, each with great views of the action before them. What’s more, the acoustics at the Beacon Theater are excellent, making the sonic space a draw for traveling musicians. Some of the stage’s most famous performers have included Paul Simon, the Grateful Dead, the Pet Shop Boys and the Rolling Stones, though new acts arrive weekly, looking to fill the room with adoring fans.
At the intersection of St. Marks Place and Second Avenue in the East Village, the 299-seat Orpheum Theatre has been staging performances and projecting films behind its red-brick, neo-classical façade for more than a century. What the interior lacks in old world grandness, it more than makes up in intimacy, thanks to its two narrow levels, which makes every seat in the house a good one. Achieving greater notoriety in the 1980s for premiering the musical Little Shop of Horrors, the theater went on to become the home of the percussive Stomp, which has lived here since 1994. Since then, the walls have gradually filled with a mélange of street-life ephemera related to the show; subway signs, motorcycle parts, chains and metal scaffolding all give the room a theatrically urban ambiance.
Before the Lincoln Center for the Performing Arts was even built, the idea for its Chamber Music Society was born. American composer and Lincoln Center President William Schuman helped specially design a recital hall in which the chamber group could play more than three centuries worth of musical compositions. But the Chamber Music Society didn't stay contained within its venue. Throughout the following half century, its musicians collaborated with dance companies, jazz projects, and festivals, helping to spread awareness and appreciation of their craft throughout the city.