In Broadway revivals, Topdog/Underdog is absolutely riveting, while Death of a Salesman feels forced and unconvincing.
Sam Mendes writes and directs an poignant ode to the escape we find in going to the movies.
“We have entered an age of unequivocal partisan discourse, of linguistic robotization, of tiny symbols standing for complex emotions. In total contrast to this, Philippe Jaccottet’s writing constantly shows nuance, attentiveness, perseverance, circumspection, and a genuine quest for essential truths.”
Freedom of expression is a more precious commodity than taste. Conservative critics were very clear about their moral imperative; they confidently vilified artists and terrorized institutions. No one won the culture wars — we lost them.
Here’s my list of two dozen superlative operatic offerings of wildly differing kinds, plus some notable non-operatic offerings.
Jimi’s sister and a Newton-based Hendrix scholar dig into the archives and come up with a coffee table book that celebrates the rock icon.
In his Celebrity Series debut, pianist Martin Helmchen performed a mostly vivid and colorful evening of Bach.
In this episode of the podcast, Elizabeth Howard talks to poets Diane Alters and Edward Hirsch about the ways we think about grief, publicly and privately.
Two powerful films about fending off violent threats, xenophobic and fascist.
Daniel S. Medwed demonstrates just how astronomical the odds are against anyone who tries to question a guilty verdict, no matter how suspect the conviction.