As this is his only work which Shakespeare himself titles ‘comedy,’ a company may feel an obligation to elicit laughter. Ironically, this duty can become burdensome.
This month I am simply listing concerts I expect will be great. My pick of the month is the Boston debut of a new Flute, Viola, and Harp trio, starring instrumental superstars Marina Piccinini, Kim Kashkashian, and Sivan Magen.
The musical wheels out well-trodden jokes about growing old while supplying all the usual greeting card life lessons (live each moment as if it were your last!).
Both productions play around with chronology in order to show the dark side of history, to unmask convenient illusions of social or personal well-being by juxtaposing the myopia of the past with the payback of the future.
We’re in this virtual reality age now, asking new questions about what art is. What has true meaning and what doesn’t?
The Boston Philharmonic Orchestra handled Lutosławski’s aleatoric textures with confidence, though the all-important brass interruptions felt more hesitant than decisive, making the work’s narrative quality rather episodic as opposed to smoothly flowing.
August Strindberg’s work unquestionably has not received the degree of popular acclaim in America that it deserves. It’s a bit mysterious, given that major U.S. playwrights — Eugene O’Neill, Edward Albee, Tennessee Williams — have openly acknowledged their debts to Strindberg.
“So There!” comes off as a poetic species of chick lit, its female characters desperate to break deadly dull routines, longing for more (not even sure what), but generally expecting the doorway to redemption —- a passage figuratively filled with light in their imaginations -— to be a man.
This invaluable addition to the Austen literature offers two for the price of one: a beautifully designed and printed edition of the novel many consider her best and a parallel critical commentary that deepens our understanding and opens up a rich, textured view of her world and time.
The people of Annawadi live in conditions so bleak that “Behind the Beautiful Forevers” evoked, for one Indian reviewer, Primo Levi’s depiction of life in concentration camps.