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An adaptor has to make choices, and this theatrical version of “Invisible Man” focuses on the novel’s most straightforward narrative strand.
In this production, director Piotr Fomenko “wanted to explore whether family happiness is even possible, the fight to keep it and the fear of losing it.”
What kind of culture is produced by a society that lives and governs itself by opinion polls?
Julian Rachlin is a Romantic violinist in the best sense: he has technique to burn, but isn’t overly showy. His tone is pure, his intonation impeccable, and in his playing the melodic line is – even in the busiest solo textures – given pride of place.
“Ace of Spades” is pure fun to play, but I’m not sure smashing two games together qualifies as innovation.
“The Sopranos” creator is the latest filmmaker to tackle the 1960s. He provides an antidote to the rose-tinted lenses of nostalgia, a grounded portrayal that evokes the truth of the period rather than the mythology.
The Lyric Stage actors and pianist Catherine Stornetta do an excellent job making all of “33 Variations” intelligible and, sometimes, very funny.
Green Mountain Project has done everything right, paying careful, historically informed attention to pitch, transposition, tempi, number of performers, and tuning.
Uzma Aslam Khan is a wonderful writer whose descriptions of the northern part of Pakistan and the fast fading way of life that had been lived there for hundreds of years are sometimes stunning.
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