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“You can be certain that when the show begins and you hear “Mack the Knife,” the choreography will suggest scenes of slashing and murdering.”
Throughout the night, CpM music director Jamie Kirsch kept tempos lively and never lost sight of the overarching shape of each of the evening’s big pieces.
Adrianne Krstansky, a marvelous actress, understandably exhibits signs of the strain of having to carry the entire production on her shoulders.
What a treat to see choreographers of different generations concentrating on ballet itself and asking the audience to appreciate what ballet can do.
Dramatist Rajiv Joseph probes the gentle sides of masculinity as well as the intertwined power of beauty and terror.
Max Bruch’s music is smart, strong, crafty, and, often, quite endearing.
There are no angels in Mark Rothko’s work: only the ascendancy of glorious color.
Bob Brookmeyer’s great contribution was to make it seem as though anything is possible — and permissible –in the big band context.
On the occasions that Bob Weir and Phil Lesh performed as a legitimate duo the concert attained some of its more transcendent peaks.
The documentary Bombshell illuminates Heddy Lamar’s enigmatic legacy with gentle scrutiny and justifiable awe.
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