Max Raabe & Palast Orchester
- MAX RAABE & PALAST ORCHESTER'S 2014 US TOUR STARTS MARCH 2
- SFJAZZ Collective Stays True to its Mission at 10
Alvin Ailey American Dance Theater
- Opposites attract in Ailey's opening program
- COURTNEY LEWIS NAMED ASSISTANT CONDUCTOR OF THE NEW YORK PHILHARMONIC BEGINNING IN 2014–15 SEASON
New York Philharmonic
- Gifted and Greek
Wall Street Journal
- MASON BATES PREMIERES NEW COMMISSION WITH ST. PAUL CHAMBER ORCHESTRA
- Gil Shaham And When The World 'Got Much Smaller, Much Faster'
- Gil Shaham performs sterling recital of unaccompanied Bach at Shriver Hall
The Baltimore Sun
Emanuel Ax, Yo-Yo Ma
- Ma and Ax team up for a memorable evening of Brahms
Chicago Classical Review
- Review: Narek Hakhnazaryan/Oxana Shevchenko
How Theater Failed America (review)
Time Out New York
A portly, blustering performing with a featherweight voice, Daisey is a working man's Spalding Gray: boyish passion meshed with refined contemplation. The most satisfying moments in the show are his recollections of the days when he did theater on the cheap. He reminisces about a summer of rats and ramen noodles when he launched a reperatory company with a college pal at a Maine Elks Lodge; recalls how directing 60 misfit high-school students in a commedia dell'arte performance pulled him out of a suicidal stupor; and revisits the unnerving time he masturbated onstage in Seattle.
In Daisey's rants, the fun comes as much from the presentation as from the point, even when he's mapping familiar territory about overworked directors and underrehearsed plays or describing how he and his director wife, Jean-Michele Gregory, are the "carrion birds of the American theater," because their low-budget solo shows frequently replace more costly productions. One artistic director dubbed Daisey's harangue "How Theater Became America"; appropriately in an important election year, it is not only vastly entertaining, it's also a call to action.