“Yiddish is above all a language of yearning, a language of anxiety.”
American Moor sheds considerable insight into the tension between actor vs. director, into the power play between the two, and who will ultimately prevail.
The IRNE event did what it has done for decades: cast a warm glow on a vibrant local theater scene and those who are dedicated to entertain, astonish, and inspire.
W.S. Merwin remained politically as well as artistically motivated all his life, often proclaiming the vital importance of activism.
J. B. Priestly’s shallow characterizations keep his vision of moneyed skullduggery mundane rather than monstrous.
The Lyric Stage Company’s The Little Foxes is taut, tense, and eerily reflective of our own uneasy, pernicious times.
In Garciela Iturbide’s photographs, the living and the dying are often joined at the (exposed) skeletal hip.
Mary Oliver’s poetic vision reaches back to the American transcendentalists: it encourages us, by demanding that we pay attention to our now threatened natural world, to find a moral compass.
Diane Williams’s brusque vision of a perverse life force mesmerizes.
Leonard Cohen reinforces this dedication to lyricism with striking humility in his final book.