Tony Award-nominated Christine Andreas doesn't so much sing a song as let the song sing her.
"When the song sings you, that's when you get the performance, not when you are singing the song," Andreas says in a recent phone interview.
Andreas will sing a variety of pop songs, accompanied by her husband, composer-pianist Martin Silvestri, in her Bethlehem debut, 7 p.m. Dec. 6, Fowler Blast Furnace Room, ArtsQuest Center, SteelStacks, Bethlehem.
"The Twilight Saga: Breaking Dawn - Part 2," fifth and final in the series, should please fans of the Stephenie Meyer novel and movie series.
For non-fans, "Breaking Dawn" signals it's time to put the brakes on "The Twilight Saga."
"Part 2" is an extended coda, with not much new happening that didn't happen in "Part 1," i.e., the marriage of Edward Cullen (Robert Pattinson) and Bella Swan (Kristen Stewart) and the birth of their daughter, Renesmee.
Crowded Kitchen Players continues its tradition to discover and produce forgotten plays with the Lehigh Valley premiere of "Parfumerie," Nov. 30 - Dec. 16, McCoole's Arts and Events Place, Quakertown.
Imagine having raspy-voiced John C. Reilly and whiny-voiced Sarah Silverman yelling, cajoling and yakking at you for one hour and 48 minutes.
That's one way to describe "Wreck-It Ralph," a garishly-colored, frantic, not very funny animated feature from Walt Disney.
The words of Vanellope, a Bratz doll style character voiced by comedian Sarah Silverman, used to describe Ralph, a Shrek-like character voiced by John C. Reilly ("Step Brothers," "Chicago" supporting actor Oscar nomination), best describe "Wreck-It Ralph" itself: "so freakishly annoying."
Each decade, one and sometimes a handful of films is embraced by and-or define and seem to symbolize a generation of high school and college-age youth.
In the 1950s, of course, it was "Rebel Without A Cause" (1955).
The 1960's brings "The Graduate" (1967) to mind.
In the 1970s, there was "American Graffiti" (1973), "Saturday Night Fever" (1977), "Grease" (1978) and "Animal House" (1978).
"Argo, an action-thriller that boasts impressive acting and directing, is based on a true spy story, "The Canadian Caper."
"Argo," directed by and starring Ben Affleck, tells the story about the United States Central Intelligence Agency bankrolling a fictitious Hollywood movie production to rescue Americans from Iran during the 1979 - '81 hostage crisis when Islamic student militants stormed and took over the U.S. Embassy in Tehran, Iran.
CIA agent Tony Mendez (Affleck) poses as a Canadian movie producer to scout locations for "Argo," a science-fiction movie.
Liam Neeson out-Bonds James Bond in "Taken 2."
You don't have to have seen "Taken" (2008). Here, Neeson, reprising his role a CIA spy operative Bryan Mills, must rescue his wife, Lenore (Famke Janssen), and prevent his daughter, Kim (Maggie Grace), from being taken hostage by Eastern European terrorists intent on revenging their losses depicted in the first movie. At the center of the terrorist group is a father whose son, a kidnapper, was killed by Mills.
"The Master" is one of those films that audiences and reviewers either love or hate.
Since I try not be a "hater," put me in the category of "strongly dislike" regarding "The Master."
My opinion has to do with "The Master" writer-director Paul Thomas Anderson ("Punch-Drunk Love," "Magnolia," "Boogie Nights"), whose films are fascinating and confounding mish-mashes of big ideas, intriguing characters and performances connected by often incoherent storylines and punctuated by shock-value scenes.
"The Pan Show" is the Lehigh Valley's most wildly-imaginative original musical of the year.
It's also "Panda"-monium.
Yes," it's a "Pan"-demic of laughter with Touchstone Theatre's "The Pan Show: In Pan We Trust."
Forget about the trouble with the chair.
There's no trouble with Clint Eastwood in "Trouble with the Curve."
Eastwood is as delightfully cantankerous as ever as an elderly baseball scout named Gus who still pours over stacks of newspapers rather than log onto the computerized "Moneyball" statistical analysis approach to assess high school, college and other Major League Baseball prospects.