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Each month, our arts critics — music, book, theater, dance, television, film, and visual arts — fire off a few brief reviews.
Filled with B-movie puppet antics, “Frankie Freako” is a joyous throwback to the days where you could walk into a video store and rent one of a dozen Gremlins rip-offs about someone’s mundane suburban life being upended by a bunch of little guys.
We should be grateful for Ohad Talmor’s wide-ranging curiosity, not only because of the detective work he put into the Ornette Coleman/Lee Konitz recordings, but because of his uniquely varied presentations of these mostly unknown pieces.
This week’s poem: Adeena Karasick’s “On the Uncertain Certain: Negotiating Deepfakes and Shallow Discourse in the Counterpoise of the Unthought”
It’s a rare treat to hear these three Francis Poulenc sonatas on a single program.
“I still pinch myself that I got to work with Clint Eastwood. But any anxiety quickly dissipated upon meeting him. He is so cool and calm and funny and easy.”
A corrupt media lies at the core of “The Seed of the Sacred Fig”‘s powerful condemnation of Iran’s politics, particularly their treatment of women, often in unexpected ways.
In Godwin Louis’s music, prayer seems best expressed in dance.
Carlos Simon’s gifts and voice are real even, as with every composer, his muse sometimes leads him down errant pathways.
There’s plenty in Magnus Lindberg’s viola concerto to occupy the ear, and pianist Claire Huangci makes the complex passagework of a trio of American composers speak with breathtaking ease.
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