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There is nothing shocking, nothing sensational, nothing revelatory, in this workmanlike production of ARMS AND THE MAN. Nor should there be, as the play doesn’t give much room for innovation.
Read More“The Day Is Coming” continues the album’s momentum. Similar to “Victory Dance,” the song starts with a chorus of odd vocals. However, these are catchier, and are soon followed by the arrival of spastic guitar, pounding drums, and chord-tastic pianos.
Read More“Page One” is quite interesting but also quite scattered. You’ll exit the theater knowing a couple things about the New York Times, and maybe feeling like you got an idea about the characters of some of the talented, humorous, and interesting personalities that put it together.
Read MoreThe likable Commonwealth Shakespeare Company staging leans very heavily on the comedy in ALL’S WELL THAT ENDS WELL, minimizing the Bard’s melancholic undertow.
Read MoreEnthusiasm simply wasn’t enough to salvage the production — the musical comedy 2010 contains too many pitfalls to overcome.
Read MoreThe production is set in France of the 1920s and artfully combines evocations of both Paris and the Forest of Arden: The city of lights is represented by miniature versions of famous landmarks: the Arc de Triomphe; Notre Dame, the Eiffel Tower — that twinkle at night and serve as props as well as set.
Read MoreThe wily Enrique Vila-Matas remains wary but respectful of Ernest Hemingway and asserts his independence by going on his own self-consciously vaudevillian way—Juan Gabriel Vásquez is too subservient to elude the shadow of Joseph Conrad.
Read MoreNothing would please me more than to believe the announcement made last week by the Van Gogh Museum, saying that one of the paintings in the museum that has always been called a self-portrait by Vincent van Gogh is in fact a portrait of his brother Theo
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