A lack of dramatic combustion sometimes makes the Lyric Stage Company production, despite its intelligent detail, more staidly melodramatic than it should be.
Motti Lerner’s characters succeed in making both the secular and ultra-religious life appear rewarding and believable.
The 64,000 question is, if the artists’ concerns gravitated to the Marathon Bombings, why did “Interference”‘s press releases and the program cite Picasso’s “Guernica”?
As for pulling out themes from Bill T. Jones’ gathering of tales, well, the bedrock of human existence seems to be very much on his mind — life and death, landscape and memory.
This death trip romance is powerful, weird, and intoxicating — until its final scenes.
SHUFFLE Concert has invented their own distinctive rules to performance, and their innovative approach, with its inspired programming, has been a hit.
Daniel Jones is a beguiling writer, with a wonderfully irreverent way of addressing one of life’s most serious sources of joy and disappointment.
“Tomorrow Night” is firmly in the makes-you-cringe vein of comedy of which “Louie” and “Curb Your Enthusiasm” would become exemplars.
French writer Philippe Jaccottet’s ever-questioning poetic analyses of haunting ephemeral perceptions are carried on with such scruple and sincerity that, for his European peers, he has become the model of literary integrity.
If George Clooney can rev up our righteous indignation decrying the barbarities of Joe McCarthy, why on earth couldn’t he become eloquent when it comes to talking about fighting to keep Hitler’s mitts off Michelangelo?