Month: March 2011
It may be beautifully photographed, but this attempt to capture Charlotte Bronte’s literary classic on screen doesn’t bring anything new to the table, aside from playing up the hooking up in the manor. Jane Eyre should be more than a simple country romance.
Read MoreWilly Russell’s play is a keeper. It’s tightly-crafted, emotionally generous, and—most of all—FUN! It provides one hell of a dramatic vehicle for a director attuned to the comedy of “higher” education. Educating Rita by Willy Russell. Staged by the Huntington Theatre Company at the Boston University Theater, Boston, MA, through April 10. By Helen Epstein…
Read MoreMagrelli’s is a reserved, critical intelligence, and his poems do not issue from a position of knowledge, but rather from a doubt that stands, and dances, slowly on a profound respect for ambiguity.
Read MoreUpdated — A celebratory month: Pianist Nando Michelin honors one of his native Uruguay’s greatest poets, a legendary Ethiopian vocalist rejoins the Either/Orchestra, a stellar Jazz Piano Summit comes to Connecticut, and much, much more.
Read MoreListeners expect global diversity from DeVotchKa and in its latest album the group delivers on its exhilarating efforts to make indie rock with plenty of exotic flair.
Read MoreIn her second novel, Aminatta Forna gives us a moving story of the toll that the terrible civil war in Sierra Leone has taken and is still taking, years after it supposedly ended.
Read MoreGerman author Ernst Weiss’s nightmarish vision of science gone mad in his 1931 novel Georg Letham is not rote Freudian; it is firmly in the social critique/ apocalyptic Darwinian mode.
Read MoreIn their understandable haste to cash in on the success of the Twilight series, director Catherine Hardwicke and writer David Johnson threw attractive people on a set without bothering to come up with a plot that makes them worth watching. Red Riding Hood. Directed by Catherine Hardwicke. The cast includes Amanda Seyfried, Gary Oldman, Billy…
Read MoreBare chested and sweating up a storm, singer Gavin Creel as Prometheus makes for a rock rebel with lots of snarly attitude, defying Zeus’s tyranny by flexing his abs.
Now that dramatist Neil LaBute’s scripts are being produced on Broadway he has fanned the earlier whiffs of amorality in his work away. The obscene language and provocative hooks remain, but those are not a bar to popular success (think of David Mamet).
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Music Commentary: New Orleans Jazz and Heritage Fest versus French Quarter Fest