Guy Ritchie is back with “Sherlock Holmes: A Game of Shadows,” and it’s refreshing to see a sequel that not only lives up to the first film, but by far exceeds it.  The sequel once again pits Holmes against his nemesis, Professor James Moriarty, in a “shadowy game of cat and mouse” that combines a battle of wits and a resounding match of fighting skill.

     “A Game of Shadows” exchanges the more supernatural, mystical elements of the first Sherlock Holmes movie for political intrigue and anarchy on an international spectrum.  Holmes and his entourage work their way through England, France and Switzerland, leaving plenty of explosions in their wake, as they attempt to stop Moriarty’s evil scheme that includes an arms monopoly, the potential outbreak of a world war and Victorian England’s version of plastic surgery.  There’s even a 19^th century stag party for dear Dr. Watson that erupts into chaos, which only Holmes can create.

     While it is enjoyable to see Holmes’ uncanny intelligence at work on a grander scale, the plot’s complexity is daunting.  Key plot points are interspersed between bouts of rapid, witty banter, and the added political drama makes it anything but “elementary” to follow, particularly if seated next to noisy popcorn munchers.

     But even if the plot is overwhelming, it’s a treat to see Robert Downey, Jr. and Jude Law reunited as detective and doctor, respectively.  Their rapport is even better and more amusing this time around, particularly as Holmes attempts to resign himself to the fact that Watson is now a married man with very different priorities.

     “A Game of Shadows” also showcases the talents of Stephen Fry (“V for Vendetta”) as Mycroft, brother to Sherlock and just as eclectic in his own unique way.  Jared Harris (“Mad Men”) brings depth to the cold, conniving Professor Moriarty, while Noomi Rapace (“The Girl with the Dragon Tattoo” Swedish version) portrays the new character of Madam Simza, an intriguing gypsy fortune-teller.

     While the sequel can stand alone as its own film, viewers who have seen the first are also treated to the return of Rachel McAdams as the alluring Irene Adler, though her time on screen is regrettably short-lived.  There are also other familiar, recurring elements, such as Watson’s death-defying dog, Gladstone, and Holmes’ inclinations for disguises of all kinds.

     Composer Hans Zimmer also returns to create the music, interspersing his original score with new variations, from ominous opera pieces to the rich tones used for the gypsy camp.

     At a running time of a little over two hours, “A Game of Shadows” is long and intense, but never loses its focus.  Best of all, it leaves the story tantalizingly open for a possible third installment.

La Cage features music and lyrics by Jerry Herman and was written by Harvey Fierstein. It is based on the play by Jean Poiret, and is directed by Terry Johnson. George Hamilton, known for his numerous film roles, stars as Georges, opposite two time Tony Award nominee Christopher Seiber as Albin. Click here to see our interview with Seiber. 

Georges (Hamilton), the owner of the drag nightclub “La Cage aux Folles,” and his partner Albin (Sieber), who performs under the alias of “Zaza” at the aforementioned nightclub, must work to stay true to themselves after Georges’ son becomes engaged to a woman whose father is the head of the “Tradition, Family and Morality Party.” Featuring a host of comedic moments, Herman describes the show as “an old-fashioned piece of entertainment.”

The national tour’s basis comes from the 2010 Broadway Revival, which won three Tony Awards, including Best Revival of a Musical and Best Director of a Musical (Terry Johnson). The show made Tony Awards history as the first show to ever win the Tony Award three times for best production, having previously won it in 2004 and for the original production in 1984. In addition to the 11 Tony Awards it was nominated for (three of which is won), the show has also received numerous nominations for the Drama Desk Awards, The Drama League Awards, and the Laurence Olivier Awards in London. It has received raving reviews from numerous critics, all of which commend it for its humor and

The show is produced by Sonia Friedman Productions, David Babani and Fran and Barry Weissler in association with NETworks Presentation.

Tickets start at $33. For more ticket information call 1-866-348-9738 or check out the web at www.BroadwayinBoston.com or www.citicenter.org.

Mr. Sieber has given Encore magazine an exclusive interview concerning his upcoming show.

[Encore Magazine] So how has the tour been going so far?

[Christopher Sieber] The tour is just fine. We started – it seems like it’s been a long time but it’s was only a couple of months ago. But we started in late August, and we started in New York rehearsing there, and then we went to Iowa, in DeMoines for three weeks. We teched it there for two weeks and had a one week run there in Iowa. And then we’ve been going to Minneapolis and all these other cities, and now we’re in Cleveland for two weeks. And the audiences are loving the show, and it’s great to watch. So far so good.

EM: Are you looking forward to any particular stops on the tour?

SC: Well actually I’m looking forward to Boston very much so because there are some of my favorite restaurants in the world there. The Union Oyster House is one of my favorite places in the world. I love that place.

EM: Anything that you’d recommend for people to get there?

SC: Oh just – their oysters on the half shell are so good! The clam chowder is ridiculous. Their muscles – I don’t know what they do to their broth, but the steamed muscles, you can just eat it with a spoon it’s so good! Plus, I just like the atmosphere of that old restaurant. I mean, it really is just a cool place. Actually, I think we’re playing the Schubert Theatre while we’re in Boston so that’s just kind of fun. I haven’t been to the Schubert Theatre since Spamalot, since they toured there. I went to visit the tour while I was doing it on Broadway.

EM: So you’ve performed in a lot of forms of entertainment – stage, film. How does performing on stage compare to performing on television?

SC: Well it depends on what it is. My first two sitcoms were Two of a Kind with the Olsen twins and then another one, It’s All Relative, that was on ABC. And we did those with four cameras in front of a live studio audience, so it was like theatre in a way. But doing a series with a single camera was like a movie. You don’t have an audience there so it’s rough not knowing what’s going to land and you really have to trust yourself.

I like theatre a lot because it’s almost instant gratification. You get a chance to do it every night. It’s dangerous, and that’s why I like theatre too. It’s dangerous because anything could happen; I think that’s why people like theatre as well. The set could break down, someone could forget their lines, someone could forget a dance step – something like that. And it’s kind of like a high wire act, but I like the instant gratification and sharing the energy with the audience that’s right there. And if they’re with you, you can get them right in the palm of your hand which is quite a rush.I do prefer theatre, but I do like television. It’s just a lot of waiting around for television.

EM: You said that some stuff can happen with live theatre. Any instances happen with that with La Cage aux Folles? Any crazy things happen?

SC: We haven’t had – I’m knocking on wood! – we haven’t had any major things happen. I mean, people forget lines, but no one’s missed an entrance yet so that’s good. During Spamalot, I was working with a crazy group of people: David Hyde Pierce, Hank Azaria, Tim Curry, Christian Borle, and Michael McGrath. We loved it when the set broke down because we were all improv comedians and we were ready to go. So anytime something would go wrong we would jump right on it and we were all over it, like “Woohoo, yay! It’s dangerous!” The audience, of course, is right there with us too. We would have a castle during Spamalot that wouldn’t come down, wouldn’t move, or something broke, so we loved that. But this show, there’s not a lot of moving parts in the show, so we haven’t had anything that broke down.

EM: Hopefully it stays that way!

SC: Yeah, hopefully it’ll stay that way.

EM: You were in the revival Broadway cast of the show as Georges. How does it compare being a different character?

SC: Well I had seven days to get into the show. Jeffrey Tambor just left suddenly, he just left and they needed somebody there so they called me and it was great. They said, “We have seven days to go into the show,” and I said, “Oh, well let’s do it!” But I was working with Harvey Fierstein, who wrote the book and the show. So getting to work with him and knowing how he wanted his show to be done while he’s performing it, that was a lot of insight and I got a lot of help from him because I didn’t have a lot of time to learn the show, and I didn’t have a lot of time to really get to know Georges, the character, until I was in it and we were working on it together as we read through the script.

And then playing the opposite part: originally they asked if Harvey and I could go on the road together and I thought that would be great, we would have a blast. And then Harvey had other things to do, he’s working on a show called Kinky Boots, he’s got his new Broadway show called Newsies, which is going to go to the Nederlander Theatre in New York, so he was a little busy and couldn’t do it. But then the producer asked me if I would be interested in playing Albin, or Zaza, and said, “You know, that might be fun.” Knowing now what I know from Harvey, how he wanted it done, gives me a great insight to do the part, so I thought “Why not, let’s do it.” It is opposite because I see George Hamilton doing Georges, and I have to bite my tongue a lot of the time just to let him have his part. It’s his part, not mine. It is difficult in that way because I know how [Georges] supposed to be done and it’s just [Hamilton’s] way of doing it.

EM: What’s it like starring opposite of George Hamilton?

SC: Oh, he’s lovely! He’s so self-deprecating. There’s not a diva bone in his body. He’s the loveliest man. We’re becoming very good friends, which is terrific. I think we have a wonderful relationship. It is fun walking around airports and other places with him because he’s so recognizable. People do stop him all the time and it’s actually a lot of fun. I’ve completely forgotten that he’s a big movie star [laughs] because I know him so well, but it’s funny seeing people react to him in the airport just walking by. They stop in their tracks and go, “Woah, it’s George Hamilton!”

EM: What sort of message do you think the audience will get from this show?

SC: This show has kind of got a covert message. It doesn’t matter who you love, it’s that you love, and a family’s a family no matter who’s in it. It’s a very family-oriented show. It’s a very covert message because it’s kind of a farce-type thing so what’s amazing is about Jerry Herman’s show is even the most conservative of theatre-goers will come away with a great message from the show and people will leave here with more than just a folded program and a torn ticket stub, if we’ve done our jobs correctly.

EM: How are your feet holding up from the heels?

SC: The feet are fine! It’s actually my back! I’m getting used to all that stuff. I’ve got the girls to help me to girl it up a little more if I need to. It’s not the heels, actually, that’s the problem it’s the vocal demands of the show that are more demanding than anything. I have five different voices that I need to used during the show because Albin has his own voice, Zaza has her own voice, Mother has her own voice, there’s falsetto singing, there’s the low voice, there’s high voice – it’s all over the place and for three and a half hours I don’t stop per show. I mean I start and do makeup and wardrobe and do the show for two and a half hours so more than physical it’s vocally demanding.

EM: How do you deal with that? How do you deal with saving your voice so you can continue doing this?

SC: Training helps. Also, the fact that you just have to be quiet during the day. [laughs]

EM: So these interviews are really helpful with that.

SC: Oh no, this is fine! Actually in the beginning of the week it’s all right. We have what’s called a five-show weekend, with one on Friday, two on Saturday, and two on Sunday. That’s the part where it gets really scary because it’s just a lot. It’s one right after the other – boom boom boom boom boom! That’s the rough part.

EM: Do you have any advice for anyone who wants to pursue a future with acting?

SC: Yeah, if you can find something else to do, do it. [laughs] It’s not for the weak of heart by any means. It can be fun and ultimately rewarding, but it is the hardest business you will ever go into. And also, you can never stop. Just because you make it on Broadway or you get a Broadway show does not mean you’re finished. You’re always working to get the next thing, because, you know, most Broadway shows don’t last forever, and you can’t bank on that, so you’re always doing something different. You always have to keep moving forward. You can never just rest on your laurels and say “Oh, I’ve got it, I made it.” No. You’re never done. And it’s constant. So you have to keep yourself optimistic and motivated and it’s a lot more than you think. We make it look easy on stage because that’s our job. But when it comes down to it, it’s not easy and I would say go to college. Get your degree. Find something else to do. If you want to be an actor be an actor, but you have to commit to it.

EM: And just one final question, and I have to ask. Why does your bio say that you haven’t been in Law and Order?

SC: [laughs] Because I haven’t! Law and Order was – or maybe it is still filmed in New York, and in playbills everybody had that in their bios. One person after another person’s bio in a playbill will say Law and Order SVU, Law and Order Special Order, blah blah blah, and I just didn’t have Law and Order on mine so I just made a point to say “Mr. Sieber has not appeared on Law and Order.”

A TSO concert is a heart-pounding, eye-burning, eardrum-ringing experience…and it’s worth every penny to see some of their most beloved works performed live.

TSO was conceived by Paul O’Neill and formed in 1996.  The band enables O’Neill to take the best of the various forms of music he grew up with in New York and “merge them into a new style,” he says in an interview on the band’s website.

Since its first tour in 1999, TSO has sold more than 7 million albums and performed for more than 7 million people in 80 cities across the country.

The Winter Tour performance in Hershey, Pa., focused primarily on songs from “Christmas Eve and Other Stories,” the band’s debut album, including well-known pieces such as “Christmas Eve/Sarajevo 12/24” and “This Christmas Day.”  The performance then featured pieces from the group’s non-holiday albums, “Night Castle” and “Beethoven’s Last Night,” during the second half.

From giant red and white strobe lights and laser techno Nutcrackers during “A Mad Russian’s Christmas,” to a dragon-like creature created from scaffolding and lighting for the “Night Castle” segment that you’d have to see to believe, TSO performances are as much about the visual as they are about the listening experience.

“There are no second-class seats at a Trans-Siberian Orchestra show,” O’Neill says on the website. “I want people to walk out of our shows speechless and…still not believing what they have seen was possible.”

It’s true.  Even sitting on the opposite end of the arena from the stage, the show was still an immersive experience.  Laser lights stretched toward every seat, and the heat from the fires on stage traveled across the entire arena.

The pacing of the performance was also well-coordinated, varying from lightning-fast songs with heavy bass that shook the arena seats to solo performers whose comparatively mellow songs calmed the rushes of adrenaline.

With the incredible musical and vocal talents showcased by the band, TSO is the perfect way to start the holiday season.  And, just maybe, after seeing one of their shows, you’ll also “dream a Christmas dream” that night.

The rock opera band is currently traveling across the U.S. on their Winter Tour, http://trans-siberian.com

Editor’s note: TSO performances employ heavy use of theatrical fog, laser and strobe lights and fire.

Festival founder Deborah Z. Porter made the selection announcement in June, saying the book was chosen for its literary merit, ability to stimulate conversation and audience accessibility to the story. Organizers of the event hope Bostonians will read the book prior to the festival and participate in a discussion that includes Russo at the festival. “The Whore’s Child” is a collection of short stories.

“As a literary organization, we related to this story because it is about making sense of one’s past through the act of writing. Remembering and recording the past can be painful, as it is here, but cathartic as well,” said Porter. “We think the story will prompt some interesting conversation and even controversy – both hallmarks of a good story.”

Russo, who splits his time between Massachusetts and Maine, won the 2002 Pulitzer Prize for Fiction for his novel “Empire Falls”. The novel was also adapted into the acclaimed HBO mini-series of the same name starring Paul Newman, Ed Harris, Phillip Seymour Hoffman and Helen Hunt. His notable novels include “Mohawk”, “Nobody’s Fool”, “Bridge of Sighs” and “That Old Cape Magic”. Born in Johnstown, New York, he later earned a bachelor’s degree, a master’s of fine arts and a Ph. D from the University of Arizona.

            The Boston Book Festival will be held on Oct. 15 in various locations in Copley Square and will include music, vendors and activities for children. It is estimated that about 25,000 people took part in the festival last year. For more information visit www.bostonbookfest.org.

Following the example of the Philedalphia Speakers Series, the Boston Speakers Series aims to give a monthly look into the lives of some of the today’s most interesting minds. Pulitzer-winning writer David McCullough opens the affair on October 5th with a glimpse at his new book. On November 7th, education reform trailblazer Michelle Rhee will bring her vision for the future of American youth. Former CIA agent Valerie Plame Wilson and Ambassador Joseph Wilson are scheduled to speak at the end of November, fresh from the adaptation of Valerie’s memoir. It’s hard to forget the storm of controversy that followed the leak of Plame’s identity, and the pair’s appearance offers a rare chance for a personal take on a political firestorm.

In January, acclaimed journalist and food writer Michael Pollan shifts the agenda from politics to culture. The trend continues with Azar Nafisi, author of the moving Reading Lolita in Tehran. The tone of the series takes another interesting turn with a March appearance by Frank Abagnale, subject of the award winning film and play Catch Me If You Can. Hollywood glamour aside, Abagnale’s security expertise is quite real. Finally, storied NBC journalist Tom Brokaw will speak in April, backed by a career that has covered everything from the Civil Rights Movement to 9/11.

A Q&A session follows each lecture, offering a chance to interact with the speaker. The audience has the chance to get the story behind the story, and delve into our speakers’ personalities without any filter.” said Series President Bill Conrow, emphasizing the chance to connect with giants.

Tickets are sold by subscription, and can be purchased via the series website.

The narrative behind this work of art set to debut at ArtsEmerson tells the story of the dark and twisted serial killer Unterweger through monologues which are illustrated with music, embodying the emotions they explore – joy, hatred, love, grief, desire.

Malkovich has appeared in over 65 movies. As for his stage work Malkovich has been awarded an Emmy for his performance in Death of a Salesman, yet Malkovich is best known for his 1999 film Being John Malkovich.  This is the second season of international theatre programming by ArtsEmerson.

“There are three forms of storytelling within this play which make it remarkably unique. Our audiences will get to hear story telling through a graphic monologue within a musical which creates its own form of theatrical greatness,” Said Rob Orchard ArtsEmerson’s director.

“Malkovich has incredibly become a dark and creepy character for this performance and he accurately portrays how Unterweger used charm and deception as a deadly combination against his victims,” Orchard stated.

The music within this production adds a richly ironic commentary on Unterweger’s disturbing confessions. At times darkly comic, at other times bleak and brutal, Confessions of a Serial Killer is an intriguing and innovative approach to delving into the twisted mind of, as Malkovich puts it, “a bad, bad guy.”

South Pacific, which won a Pulitzer Prize for its compelling message, features music by Richard Rogers, lyrics by Oscar Hammerstein II, and a book by Hammerstein and Joshua Logan. The musical is based on James Michener’s book Tales of the South Pacific, which also won a Pulitzer Prize.

South Pacific tells the story of two couples living on a tropic island in the pacific and how they cope with their love amidst the war and the prejudices that occur. Nellie Forbush, a nurse during World War II, falls in love with Emile de Becque, a French plantation owner but struggles to overcome her prejudices and accept his half-Polynesian children. Meanwhile, Lt. Joseph Cable finds himself attracted to Liat, a native of the island, but struggles to see past the prejudice ingrained in him from his childhood. Some of the well-known songs featured in the show are “Some Enchanted Evening,” “I’m Gonna Wash That Man Right Outta My Hair,” “Younger Than Springtime,” “A Wonderful Guy,” and “You’ve Got to be Carefully Taught.”

Though the musical was controversial when it was first performed, facing criticism from many lawmakers who said the show questioned the American way of life, Rogers and Hammerstein refused to change anything of the show. It remains one of the most popular musicals of all time

Though the story is over 60 years old, the themes of tolerance and acceptance still ring as strong today as it did when it was first performed. When it was first performed it brought people of all backgrounds together, and it still does that today. This powerful story is one that can be appreciated by people of all ages and cultures.

The highly talented cast brings life to the musical. Marcelo Guzzo, and Katie Reid lead the cast as Emile de Becque and Nellie Forbush respectively in the show. Shane Donovan, an Abington, Mass. native, returns to his home state to play the part of Lt. Cable, and Hsin-Yu Liao is cast as Liat. Other cast members include Christian Marriner as Luther Billis, Cathy Foy-Mahi as Bloody Mary, Robert John Biedermann as Capt. Brackett, James Bould as Cmdr. Harbison, Jake Bridges as the Professor, Erik Cheski as Stewpot, Judae’a Brown as Ngana and Cole Bullock as Jerome. 

The strong creative team drives the show to its full potential. With a basis from Sher’s Tony Award-winning direction, Sarna Lapine directs the cast in this latest production of South Pacific. Joe Langworth adapts Christopher Gattelli’s work for the musical staging, Ted Sperling is the music supervisor and Richard Dunn II is the music director. It also features the work of Mikiko Suzuki Macadams, whose set design is adapted from Michael Yeargan’s Tony Award Winning set and costumes by Tony Award winner Catherine Zuber (assisted by David Newell).

Broadway in Boston has put on numerous musicals that have toured across North America. Some of the past musicals include Wicked, The Lion King, Mary Poppins, My Fair Lady, Spamalot, A Chorus Line, and Fiddler on the Roof, as well as many other shows.

Tickets start at $33. For more ticket information go to www.BroadwayInBoston.com or call 1-800-982-2787 between 10 a.m. and 5 p.m. Monday-Friday.

Tickets for all events except Mortal Terror go on sale September 1. Call 866-811-4111 or visit www.moderntheatre.com to get your own!

Performances:

Mortal Terror (September 15 – October 2)

Written by Suffolk University’s own Robert Brustein, Mortal Terror is the second in a theatrical trilogy about the life and work of William Shakespeare. In this installment, the playwright gives life to Macbeth, becoming King James’ propaganda man, and finding himself at the center of a game of violence and political intrigue. Directed by Daniela Varon and co-produced with Boston Playwright’s Theatre.

MAIN (October 15, 8PM)

Sound artist Robert Hampson’s MAIN combines guitar textures with electronic material, field recordings and drumbeats in an attempt to create a new form guitar-based music. But that’s not all: this captivating performance mixes in German musician Stephan Mathieu composition for string instruments, organs and radios, making MAIN a real treasure of musical alchemy.

Doctor Faustus (November 17 – 20)

“All places shall be hell that is not heaven.” Marlowe’s classic, featuring a brilliant doctor who sells his soul to Satan to obtain power and knowledge, adapted by Suffolk University students and their Elliot Norton-award winning visiting lecturer, David R. Gammons. Directed by David R. Gammons.

Casa Patas (November 29, 8PM)

Internationally acclaimed Madrid-based flamenco dance ensemble Casa Patas returns to Suffolk University with dancer José Barrios and a special American guest in a performance that combines flamenco, jazz, rock, and blues.

Conversations:

Shakespeare in America: Robert Brustein Presents Oskar Eustis and Jenny Gersten (September 23, 6PM)

Inspired by his very own Mortal Terror, Robert Brustein hosts the artistic directors of New York’s Public Theater and the Williamstown Theatre Festival to discuss the future of Shakeseare production in America.

Christopher Durang: A Conversation with the Playwright (October 6, 7PM)

Suffolk’s Robert Brustein will host playwright and actor Christopher Durang, an Obie and Tony award winner and Pulitzer Prize finalist whose plays have been produced on and off Broadway as well as abroad.

A Celebration of David Ferry (December 1, 7PM)

Boston writers and Suffolk’s literary community will convene to celebrate the life and work of acclaimed poet David Ferry, famous for his poetry as well as his translations of Horace, Virgil and the Epic of Gilgamesh.

Cinema:

The Jazz Singer (October 18, 7PM)

Suffolk University will celebrate the first anniversary of the restored Modern Theatre with the viewing of The Jazz Singer, which heralded Hollywood “talkies” and the decline of silent cinema. This classic film was screened for the first time in Boston in 1928, in the Modern Theatre itself.  Co-produced with the Boston Preservation Alliance

Dead Reckoning—Champlain in America (October 25, 7PM)

Oscar-nominated and Emmy-award-winning documentary filmmaker Frank Christopher will attend the screening of his film Dead Reckoning – Champlain in America, a fully animated, historical account of Samuel de Champlain’s exploration of North America. 

Shakespeare on Film: Macbeth (TBA)

If you’re planning on watching Mortal Terror in September, you might want to attend this viewing of Roman Polaski’s classic film Macbeth to refresh your knowledge of Shakespeare’s “Scottish play.”

     Emma Stone stars as Skeeter, who upon arriving back home from college discovers that the maid who raised her is no longer with her family, whom told her that her “help” Constantine, had moved back home to be with her family. Unsatisfied with the explanation she received and the fact that no one is willing to discuss Constantine, coupled with her experience with her friends during their weekly bridge club meeting, where, Hilly (Bryce Dallas Howard) expresses that all homes should have separate bathrooms for their colored helps, she releases the difference in manner in which the two races are treated. With primary help from three maids from within the families of her circle of friends, Skeeter resolves to reveal the behind the manner in which colored people are treated, from the perspective of the “help”. In a town where serving as a maid was one of the only job opportunities for colored women, these three maids are faced with the choice of revealing the truth, or accepting their predicament in order to keep their jobs.

   With the alternate characters of each made and their employers, this film intertwines truth, comedy, and soul-filled drama, making for a brilliant watch, and a telling plot. This film opens in theaters on Wednesday, August 10^th.