Robert Israel
American Moor sheds considerable insight into the tension between actor vs. director, into the power play between the two, and who will ultimately prevail.
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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.
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W.S. Merwin remained politically as well as artistically motivated all his life, often proclaiming the vital importance of activism.
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J. B. Priestly’s shallow characterizations keep his vision of moneyed skullduggery mundane rather than monstrous.
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The Lyric Stage Company’s The Little Foxes is taut, tense, and eerily reflective of our own uneasy, pernicious times.
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In Garciela Iturbide’s photographs, the living and the dying are often joined at the (exposed) skeletal hip.
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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.
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Diane Williams’s brusque vision of a perverse life force mesmerizes.
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Leonard Cohen reinforces this dedication to lyricism with striking humility in his final book.
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This musical hodgepodge at the American Repertory Theater could be called ‘Let’s Sing About Me (and Me, and Then More About Me).’
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Arts Commentary: Rich in Creativity — But Nothing Else