Debra Cash
You have to appreciate a guy who expressed his concern for both the drought on the Texas plains and the local arts community’s drought in terms of cancelled jazz programming on WGBH and the closing of the BOSTON PHOENIX.
This week the Cunningham Dance Foundation released The Legacy Plan, a series of steps to document and preserve Merce Cunningham’s choreographies.
Emily Johnson may be off the mainstream cultural radar, but I guarantee that is going to change, big time.
Composer James MacMillan’s musical strategy in this opera is a stylistic patchwork that seems to mean to convey that each character inhabits a different, mutually misunderstood world.
I can’t understand why people are frightened of new ideas. I’m frightened of the old ones. — John Cage to Richard Kostelanetz, 1988
What kind of culture is produced by a society that lives and governs itself by opinion polls?
At first glance, Oz and Oz-Salzberger’s “Jews and Words” seems to be an unexceptional if elegantly written and occasionally witty contribution to the Jewish bookshelf.
This version of “La Belle et la Bête” never commits to a through-line about how its metaphors and rich visual imagery are supposed to operate.
Cut out of translucent and colored ox or donkey hide (sorry, PETA), they are foot and a half tall, two-dimensional figures operated by rods set up behind a slightly canted screen.
Over the next 90 minutes, Faye Driscoll and Aaron Mattocks stepped, bounced, shrieked and scrabbled through a series of 20 to 30-count episodes, much of it having to do with orality.
The Annual Francis Davis Jazz Critics Poll at Mid-Year: Warming Up a Riff — How It Happened, and Why It Matters