Featured
In the US, Thomas Mann tacitly proposed himself as an almost messianic figure, stately, dramatic, and wrathful at once, striding forth to represent German culture in exile and, increasingly, free Germany itself.
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The show never grapples with the casualties of corporate crashes because it would mean critiquing a system that is making a lot of people at the top rich (looking at you, Apple).
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This sizzling production of Ain’t Misbehavin’ is one of those one-of-a kind of experiences that we all long for in the theater.
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You will have to be up for this short story collection ; you will learn a lot about a corner of the world that’s rarely captured, and is done so here exceptionally well.
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Each month, our arts critics — music, book, theater, dance, television, film, and visual arts — fire off a few brief reviews.
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While it’s too soon to call it timeless, the vitality in Philip Guston’s art has proved durable. But the structure around it – the “art world” in its blinkered, stultified form, institutional and academic in the worst senses of those words – has died and encased it.
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“As a writer, I was drawn to a subject I can’t make sense of any other way. So the questions swirling around abortion are so close to my heart I just had to write about it.”
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Now that he’s 70, it’s only right that guitarist John Scofield takes a victory lap with his first solo album.
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In Miss Holmes Returns, dramatist Christopher M. Walsh has involved the gender-switched pair in an entertaining yarn of uncertainty, betrayal and social justice.
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The protagonist of this engrossing, and troubling, story must draw on all her accumulated knowledge in order to cope with degradations to her habitat caused by what we, the viewers, know as global warming/climate change.
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Visual Arts Commentary: John Singer Sargent — A Particular Sort of Loner