Robert Israel
Jon Batiste’s performance resonated with what musician Zachary Richard calls the “holy trinity” of Louisiana music: Cajun, zydeco, and “old-fashioned” rock and roll.
“When you collaborate with an audience and other artists, and you let hip hop flow and intertwine, anything goes.”
Still, even with its flaws, this short book is an important contribution to literature by and about atomic bomb survivors because it underlines their indispensable value as witnesses.
“The MFA is a place that really matters to a lot of people, and it is the safety of this place that matters and its commitment to excellence. These are things that must never be compromised.”
The emphasis of the B&P troupe has become increasingly apocalyptic: the struggle we are engaged in is for nothing less than the preservation of our planet, and for the preservation of our individual — and collective ––hearts and minds.
Despite all the Boston Lyric Opera pageantry and talent, “Carousel”‘s trip to the 21st century turns out to be bumpy.
The Huntington Theatre Company’s production of “Don’t Eat the Mangos” commands attention with its blend of entertainment and enlightenment.
The sprawling cast — 30-plus players — under Michael Arden’s direction performs with verve; they deliver outstanding performances and have excellent singing chops.
At its best, this script offers an opportunity for audiences to cast a backward glance at the first stirrings of dramatist Lynn Nottage’s prolific canon.
Suffice it to say that this film version of “The Piano Lesson” does playwright August Wilson proud.
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