At Boston College. Set in modern day London, director Stuart J. Hecht did a fine job of assembling his troops to create a stark and powerful rendition of Threepenny, though it did plod at times.

Perhaps the most striking thing about Hunter College's production of Threepenny Opera was their claim that the show was being performed by prisoners. The playbill was so convincing, featuring several fake organization names ("Prison for the Performing Arts is a member of the Corrections and Rehabilitation Corporation of America") and a jaunty fake logo with prison bars. I bought this gimmick wholesale (even though I couldn't find a website for Prison for the Performing arts on my phone...) and the "alienating" effect was tremendous! I was downright scared.

It was a fantastic show. Decent singing all around, fabulous direction (Mackie seemed to have a fetish about keeping things clean: he would gently wipe Polly's face after offering a kiss.) I would have appreciated clearer diction from everyone, but overall a success.

Presented by Pocket Opera of New York at the Secret Theatre, Long Island City, Queens.

They both brought some A-game to Carnegie. It was a quite a joy to see and hear Hvorostovsky in person for the first time. My favorite moment was how he finished his encore number, which was an a capella Russian folk song, as he typically ends his programs. The house was utterly silent. And then he gently waved his hand and shrugged a bit as if to say, "well, I hope you liked it" cueing us to clap. He's one cool dude. And Sondra was no joke, either, but my attention was on the white haired guy.

Improv comedy a la "Whose Line?" Every Friday and Saturday night at W 36th St.

Guests Jimmy Kimmel, Kirstie Alley, and Snoop Dog

at Don't Tell Mama