Sittin’ in raises fascinating issues and its wealth of ephemera provides an amusing context in which to ponder deeper questions.
Terrific performances, blazing with color, character, and wonderful technique from Neeme Järvi and the Royal Scottish National Orchestra; John Williams and the Vienna Philharmonic Orchestra offer considerable pleasure with some misteps; another triumphant release from Gil Rose and the BMOP.
Journalist Lisa Robinson deconstructed the idea of the girl who could hang with the guys (and laugh off their casual misogyny) long before Gillian Flynn immortalized the Cool Girl in Gone Girl.
Peter Wortsman has made a valuable contribution with this play; it is a rare theatrical account about how living through the Holocaust shaped survivors.
Françoix-Xavier Roth delivers a must-have cycle of Robert Schumann’s symphonies; Herbert Blomstedt’s Brahms’s Symphony no. 1 is spacious, restrained, and – too often – dull; Daniel Barenboim’s latest Elgar installment features a regrettably unsung masterpiece.
A master of America’s instrument with an abiding love for the people and their traditions – – despite everything. This is Clifton Hicks.
Hub Theatre’s virtual production of Much Ado About Nothing recognizes Zoom’s potential for farce and leans into it: this is a rollicking delight of a show that refuses to take itself seriously, to everyone’s benefit.
To Sound of Metal’s credit, the narrative remains open-ended, refusing to descend into a predictable “Hollywood” story of triumph over adversity.
Bill Irwin’s homage to Samuel Beckett explores what makes the writer so fascinating, even inspiring, for those who appreciate the knockabout beauty of his despair.
To his credit, Kawaguchi is a canny enough craftsman to give the time tripping cliché a healthy spin.