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But Mr. Ho’s Brian O’Neill had another idea. What if he took the very inauthenticity of the original music as a motive for putting together things that were never meant to go together originally? Like Bach’s Toccata and Fugue with a Balkan beat?
This attractive, inexpensive box set dedicated to Claudio Abbado contains a rich gathering of lucid, colorful recordings, among the most accomplished modern performances of symphonies that are absolutely central to the repertoire.
It’s a pity Witold Lutoslawski’s music isn’t turning up on more orchestral programs in the U.S. this season and next – Benjamin Britten seems to be the centennial birthday boy of choice.
Director Refn’s craftsmanship isn’t in doubt here, just whether this deadening story was worth all the effort.
This production of “Pygmalion” is also a case study in how an accomplished director –- former Huntington Theatre Company director Nicholas Martin – weaves every part of his team into a seamless whole.
Austin Ratner’s follow up to “The Jump Artist” is an an exuberant, terrific novel — for its weaknesses, as well as its strengths.
None of this is to suggest that the members of Savages approve of the exploitation of women, whether those women are porn stars or just everyday women walking down the street. But it is to suggest that Savages are okay with sex.
Two current productions in the Berkshires — “Master Class” and “Hapgood” — feature excellent performances from powerful and accomplished actresses.
The Commonwealth Shakespeare Company’s production of “The Two Gentlemen of Verona” is spunky and engaging — but the play is spun in one direction, away from its weird edginess.
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