Review
In this always compelling production, director Carey Perloff decided to bring the uncanny on stage, almost as a sixth character, in the form of composer/musician David Coulter.
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Dumas’ Camille is nothing if not ambitious. Such complexity is seldom found on a summer stage.
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This album lacks the desperation, the immediacy, the sheer power that made Sleater-Kinney essential in its original decade.
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In this extraordinary recording, harpsichordist Mahan Esfahani is given a chance to perfectly convey the power of his emotions.
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I left thinking that holding a blues (or a jazz) festival in every city and town would not be a bad idea. It’s a better way for municipalities to spend their money — with a surer payoff — than tax abatements for Amazon.
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feels both cautionary and elegiac; it is obviously relevant in these times of extremism and the rise of small town tyrannies.
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Gallim specializes in depicting raw emotions through movement.
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Playwright Rachel Bonds has written an often-hilarious script which nonetheless deals with such serious and widespread issues as spousal and child abandonment, drug addiction, the right to death with dignity, and same-sex adoption of children.
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After the Wedding never finds its emotional rhythm; melodramatic confrontations about betrayals and past choices lurch clunkily along.
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Following a very compelling second season, the series seems to be losing its edge, slightly, though only intermittently.
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Jazz Perspective: Zev Feldman – A Sherlock of a Producer with an Impressive Portfolio