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Milo is a young rapper who is not afraid to ruminate on the disconcerting resonances of solipsism or on the impenetrability of the writings of Georg Wilhelm Friedrich Hegel.
To my ears, the Boston Symphony Orchestra—supplemented by saxophones, guitar, and mandolin—sounded overblown and unbalanced, oddly tinny at times (perhaps because of the amplification), glorious at others.
Before this turns into too much of a love fest, I should point out that Paul McCartney really needs to work on his between song banter.
Stuffed with familiar themes from coming-of-age classics like “The Summer of 42,” “Ferris Bueller’s Day Off” and “Moonrise Kingdom,” “The Way, Way Back” is a long stretch from its predecessors, but the film is salvaged by a terrific cast.
Dramatist Theresia Walser is careful to point out that these women did not merely benefit from the abuses of authoritarian power, but perpetrated many of them as well.
It was an unexpected pleasure to stumble onto this one-hour, one-woman show, which explores a fascinating episode in Japanese-American history.
NOTE: KOBO TOWN’S PERFORMANCE AT JOHNNY D’S HAS BEEN CANCELLED
Instability is key to Brian Brooks’ choreographic agenda. Some of the dancers crouch on their hands and feet and are transformed into slow-moving mounts for the dancers balancing on their backs.
When I saw him, he was rarely still on stage: a Billy Bang performance was something like a dance.
“Hannah Arendt” is a substantial and worthwhile portrait of the influential and controversial thinker who gave us the phrase “the banality of evil.”
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