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A busy month of theater, especially for off-speed, postmodern romances, while old-timers such as the Gershwins and Tennessee Williams receive some attention as well.
A relative lack of shows leaves for a somewhat empty, final summer month. However, there should be a lot more going on once the college students return to Boston in September.
An opportunity, via two workshops, to work with ArtsFuse Poetry Critic Daniel Bosch on making poems.
In the perceptive hands of director Joann Green Breuer, the combination of scripts (stretching from the 1940’s to the 1970’s) proffers a compelling meditation on Tennessee Williams’ exploration of women and desire, as well as some surprising spins on his classic plays.
“The main idea I’ve been working with is what I call the longevity revolution.” — Theodore Roszak
Dramatist Jason Grote spins a postmodern, political variation on Scheherazade in his play 1001, and while it skimps on the imaginative playfulness of other versions, its time-tripping allusiveness has a scruffy intellectual charm.
Every musician brings his idiosyncratic personality to his (or her) playing, and yet, even after four big pieces, I was not sure what Russell Sherman’s non-piano or piano personality was.
On CD, the award-winning Emerson String Quartet are terrific, but live, they are even better.
For those who imagine Tanglewood only as concerts in the huge shed which seats 6,000, these Sunday morning concerts offer a more intimate experience as well as a chance to hear modern pieces they never would hear in what we all call the “regular concert fare,”
Book Review: Violence, a la the Freudian and Biblical canon
Short Fuse thinks Russell Jacoby’s “Bloodlust: On the Roots of Violence from Cain and Abel to the Present” is an unconvincing mix of refurbished Freudianism and Genesis.
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