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From James P. Johnson to Thelonious Monk to Jason Moran, inspired mentors carry the past into the future.
To judge from the all-around energetic playing of the BSO, it seems conductor Jaap van Zweden has struck a good rapport with the players and I, for one, look forward to hearing more from him in coming seasons.
Art with a capital A has been put on such a pedestal that Craft with a capital C has been downgraded to a shabby or rustic sort of activity of which the practitioner should be a little ashamed. ’Tain’t so.
Although I was disappointed in this Manhattan Theatre Club production, I am, however, very glad to have seen “Wit” — it is a contemporary classic.
Dominique Eade’s two greatest gifts are her clarity of musical thought and her courage as an improviser. She does not try to be a cabaret-style interpreter or a ring-a-ding-ding swinger.
What more could you ask than that a musical comedy version of The Addams Family cast a kooky spell?
Elegantly written, cogently argued, and filled with trenchant artistic analyses, Alexander Marr’s book exemplifies interdisciplinary studies at their best.
“69°S” takes risks that never put actual life or limb in danger, but under the static of snow and history, we learn that venturing to the edge is always a kind of art.
Worth checking out in February: a few solid experimental shows.
Ms. Bolden’s goal of evoking wintry climes was achieved because of her choice of pieces and musicians, who performed these compositions so well.
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