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An alternative to the New York Times’ review of “Porgy and Bess” at the Tanglewood Festival.
9/11 has inspired a number of movies and TV documentaries, but theater works about the event are rare. What are dramatists and theater companies afraid of?
I wouldn’t be writing this review or asking you to read this book if I didn’t believe that McLane were up to something far more radical and also far more difficult to reckon with—something I am not even sure I can account for. The most significant quality of the poetry in “World Enough” is a profound and unapologetic ambiguity.
Thought to be lost, the only existing print of NATHAN THE WISE was discovered in Moscow in 1996. The Coolidge Corner Theater is screening a tinted and beautifully restored version of the film, with an original score by Aaron Trant performed live by the After Quartet.
For French writer Pierre-Albert Jourdan, paradox and its close kin aphorism were ways to approach the ineffable, the infinite, the immanent, and above all the state of unity between self and world that he devotedly, passionately sought.
What could have been a readable, informative, pleasurable book that would, much like Woody Allen’s recent film MIDNIGHT IN PARIS, enhance our experience of some of the modernist figures we adore wallows too often in brain-dead literary theory.
Narrative holes and esoteric tendencies aside, SENNA is remarkable for its feat of compiling what must have been hundreds if not thousands of hours of Formula One footage. The film is surprisingly cinematic and has a vintage, if not sometimes grainy, appearance.
Robert LaHotan was a fine abstractionist before he fully turned his energies to landscapes and interiors in his mature works. This exhibition, which spans 25 years, shows him alternating between abstract and figurative styles with many paintings landing somewhere between the two.
Despite its entertainment value, ATTACK THE BLOCK ends up shirking its potentially subversive setup for the tried-and-true route of moral redemption and a vapid political stance
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