Congratulations to the Boston Jewish Film Festival are certainly due to its longevity and general quality.
“The Submission” has been compared to Richard Price’s richly evocative novels of New York life. It’s an apt comparison, though Amy Waldman brings a new cast of characters to bear, members of the Bangladeshi community.
Given his full-throttle depiction of the myopia of middle class mores, Bruce Norris is more in the flamboyant satiric line of Sinclair Lewis, who also trained his sharp ear and eye on the Midwest, the American heartland, jabbing away at American delusions of community, status, and self-satisfaction.
Exciting things are happening in Israeli writing, and it is garnering considerable attention in Europe. But what about theater in Israel? Israeli Stage offers the curious a chance to see what is happening.
This intriguing documentary, made up of first-hand footage about the Black Power movement, will air on WGBH’s Independent Lens this Thursday @ 10 p.m.
Anthony Wallace’s interview on last year’s John Coltrane Memorial Concert, which includes questions about a book on the musician’s spirituality, offers plenty to think about before the 2012 version of the homage to the master musician, which takes place on November 3rd.
With Reverse Thread, Regina Carter moves beyond conventional boundaries, her music a rich blend of jazz and world music—a cross-cultural exploration of modern and traditional music that expands the boundaries of both genres. Regina Carter. At the Shalin Liu Performance Center, September 24. Her album is Reverse Thread (E1 Entertainment). Carter will be performing in […]
Despite some interpretive shortcomings, Sean Newhouse, the orchestra’s 30-year-old assistant conductor has solid technique, and a major orchestra whose players, management, and audience believe in him.
Joshua Rubenstein’s succinct account of Leon Trotsky’s life rescues the Russian radical from a remoteness, positioning him at a useful distance for contemporary readers
In this delightful production of “Candide,” director Mary Zimmerman imaginatively reworks and mischievously augments the musical. Her deliciously blowzy approach embraces, with charming lyrical fervor, the sheer preposterousness of Voltaire’s sardonic fable.