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We become increasingly aware that we are in the mind of a doctor who has taught himself to observe carefully, who has an amazingly strong will to survive, and who chooses not to waste precious time and energy on anger or revenge.
The singing in the SpeakEasy Stage Company production is strong throughout; it’s easy to get caught up in the sheer pleasure of such a variety of voices.
In nearly 78 minutes of intensely concentrated playing, Jane Ira Bloom’s album offers some of the greatest ballad performances I have ever heard.
Bruce Springsteen’s “High Hopes” is a collection of covers, reinventions, and new recordings of odds and ends that have been kicking around for the past decade-plus.
The music was loud, the dancers laughing and sweating and clearly happy to be liberated from their cabin-fever inducing confines to let loose and have some fun.
There’s much in “La Pasión” to like. Composer Osvaldo Golijov’s use of Latin and South American musical forms has been well documented: the piece offers a striking compendium of idioms covering a huge geographical range.
John Tiffany’s Tony-winning direction of “Once,” restaged for the current tour, is a miracle of judicious rhythmic choices and deft transitions.
Using her family’s history as a springboard, Julia Franck has created exemplary figures forced to navigate the treacherous shoals of her country’s history.
CriticIsm Commentary: The Welcome Buccaneers of Arts Criticism
“Criticism will always have the force of the child in the story about the emperor’s new clothes, because there will always be naked emperors who everybody says are wearing today’s Crown Jewels.” — Eric Bentley
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