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Now 58, the noted choreographer’s succinct gestural language, coincident use of music and musical ideas, and spatial elasticity is now completely second nature.
To his credit, Garry Wills does not attempt to tell us what Shakespeare or his contemporaries “really meant,” nor does he suggest that there are ways that these plays ought be staged.
Johannes Moser is a cellist I have admired for some years.
Made up of Boston-based musicians, the Laszlo Gardony Quartet is one of the city’s under-recognized treasures.
Selma doesn’t dare to offer the viewer anything new.
The Man Between offers a fascinating glimpse of the late master translator Michael Henry Heim, its reportedly modest and reticent protagonist.
The virtuoso approach of Bedlam’s Saint Joan, its unpretentious immediacy, makes this production an exuberant Shavian history lesson that should not to be missed.
The fooling around was far more compelling than I could have imagined: the Ukulele Orchestra of Great Britain know how to throw a fun, funny, family-friendly show.
This was the sixth consecutive year the double bill of Cracker and Camper Van Beethoven hit the Middle East on MLK weekend; it was sold-out as usual.
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