Bill Marx
Dramatist Melinda Lopez’s “Becoming Cuba” holds your attention even after you see just where it is going and why.
“Buster Keaton’s imagination and ideas are more surrealistic than Chaplin’s, and his stunts are astonishing in terms of their demanding technique, even today”.
“I love Fats Waller. Fats Waller will always be here because he is simply that magnetic a person(a).”
This is a vaguely threatening day for New Englanders who love their NPR in duplicate.
“Bernard Malamud is the great sentence-maker, the great craftsman, and the sheer quality of those sentences has never perhaps been given its complete due.”
Jiri Fiedler’s was a life of quiet heroism dedicated to the indispensable task of keeping the past alive.
In “The Flick,” Annie Baker creates youngish characters that my students at Boston University would call “relatable,” exploring how self-delusions, stereotypes, and fear keep them from connecting in a meaningful way.
A lack of dramatic combustion sometimes makes the Lyric Stage Company production, despite its intelligent detail, more staidly melodramatic than it should be.
“Witness Uganda” is a quintessential American musical — a work of cultural tourism that condemns cultural tourism.
The protagonist may necessarily be passive in the face of his or her diminishing mental condition, but art must rage against the dying of the light.
Classical Music Commentary: What’s Next for the Boston Symphony? — Lessons from the Past