The Theater J debacle points to the difficulties Jewish theater faces within the Jewish community.
The exploitation of the free labor of artists may finally have hit a critical mass in 2014, generating enough publicity to make observers righteously angry.
Theodore Dreiser’s The Titan is not the greatest novel about American business, but it is still among the best, an honorable runner-up that turned 100 this year.
It’s fun to recall what’s been played locally since January and be reminded just how rich the greater Boston area’s classical music scene really is.
The only Boston-based companies that have the means to stage an epic on this scale will shy away from the content while those adventurous enough to handle its iconoclasm lack the means.
“With Cream I and Ginger could play free jazz as a rhythm section, while Eric played the Ornette Coleman role. However, we didn’t tell Eric that!”
What we seem to have here is one of the glories of our democracy in action: the blind leading the oblivious; aping distortions and downright falsehoods about the opera.
Patrick Modiano’s simple sentences pull one in; the nostalgia of loss and pain of youth and the hunt for a vague, romantic Other are easy to relate to.
Here’s a modest proposal. Let’s invent a Boston arts tasting menu.
It’s important for there to be funds, curators, institutions, and audiences for art that can speak truth to power in unconstrained ways.