Directed ably by Joel Zwick, a long-time collaborator of Hershey Felder’s, the excellent Maestro: Leonard Bernstein includes the performer singing, playing the piano, and conducting as well as telling stories.
What is a Judicial Review? It is a fresh approach to creating a conversational, critical space about the arts and culture. This is our seventh session, this time a discussion about the Boston University School of Fine Arts production of Francis Poulenc’s opera Dialogues of the Carmelites, which raises issues about faith and resistance.
Inescapably erotic, flowers are all about desire. What are they but a glorious exhibition and frame of their own genitals?
National Theatre director Bijan Sheibani chose artistry of movement, beautiful as it is, over the battering belittlement of really hard, unappreciated work, the facts of sweat and stupor.
Given his full-throttle depiction of the myopia of middle class mores, Bruce Norris is more in the flamboyant satiric line of Sinclair Lewis, who also trained his sharp ear and eye on the Midwest, the American heartland, jabbing away at American delusions of community, status, and self-satisfaction.
Liz Duffy Adams’ affectionate look at Aphra Behn’s rise to public prominence, despite prejudice against her gender, comes off as a sort of farcical love letter to an ink-stained ancestor that at times suggests a Shavian talk fest in a minor key.
In “Train Dreams” the world of beauty and terror is balanced as only our best writers have been able to balance those things.
Must age diminish a great poet’s strengths? If I grant that age has such power, I’m left to ponder the truly strange fact that death does not.
“Next Fall” is so anxious not to polarize or offend that it ends up as little more than well meaning. Something serious seems to be happening on stage, but for all intents and purposes the conflicts that make for genuine drama fall by the wayside.
I wouldn’t be writing this review or asking you to read this book if I didn’t believe that McLane were up to something far more radical and also far more difficult to reckon with—something I am not even sure I can account for. The most significant quality of the poetry in “World Enough” is a profound and unapologetic ambiguity.