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Adrianne Krstansky, a marvelous actress, understandably exhibits signs of the strain of having to carry the entire production on her shoulders.
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What a treat to see choreographers of different generations concentrating on ballet itself and asking the audience to appreciate what ballet can do.
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Dramatist Rajiv Joseph probes the gentle sides of masculinity as well as the intertwined power of beauty and terror.
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Max Bruch’s music is smart, strong, crafty, and, often, quite endearing.
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There are no angels in Mark Rothko’s work: only the ascendancy of glorious color.
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Bob Brookmeyer’s great contribution was to make it seem as though anything is possible — and permissible –in the big band context.
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On the occasions that Bob Weir and Phil Lesh performed as a legitimate duo the concert attained some of its more transcendent peaks.
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The documentary Bombshell illuminates Heddy Lamar’s enigmatic legacy with gentle scrutiny and justifiable awe.
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From a compositional standpoint, too, Chamber Dance is an example of Tower at her engaging best.
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The White Card‘s examination of white philanthropy and racism stays well within the comfort zone.
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