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Charles Lloyd and Julian Lage and Zakir Hussain served a loose, flowing 65-minute set with complementary facility that belied the novel circumstances.
No matter where our lives were at just nine months ago, most of us are now longing for those pre-pandemic days. Jump into this week’s jukebox of an episode for a trip back in time.
Keats is comfortable in that ambiguous space between reality and the imagination, and you will find no finer example of Romantic poetry when he fuses them in the language of an erotic dream.
When Willie dove into “On the Road Again” to close the set, singing of “making music with my friends,” one could envision the same hopes for Farm Aid to resume its annual trek to an amphitheater somewhere in America and stoke the communal cause.
Agrippina (1709), an enormous hit at the Met this past season, proves, by turns, gripping, sardonic, and exquisite.
The real problem is the obsessive engagement with social media platforms that encourages attention-seeking behavior, and rewards it.
In no way was the recognition that Ira Sullivan received commensurate with his skill.
The Kentuckian’s message is one of both heritage and empathy — and the necessity of both.
Are our theaters indifferent, craven, or complicit? Take your pick.
Theater Review: Penny Arcade — Provincetown, Puritans, and the Pandemic
I’ve hated enough people,” Penny Arcade confessed, “I can’t hate anyone new until 2022.”
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