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This is a movie that one Stone Roses fan made for other Stone Roses fans to enjoy. There’s nothing wrong with that though, and judged in this way, it’s a winner.
As might be expected from a choreographer who has created 140 dances, the varied program served as an annotated guide to Paul Taylor’s inquisitive and often dangerous imagination.
This remains a vision of a dystopian universe, but in the hands of these performers “Waiting for Godot”‘s angst exudes as much antic warmth as it does cold angst.
No pianist in his right mind is going to repeat this program. András Schiff had privileged us with a gift that only he could give.
Refreshingly, playwright Marianna Salzmann manages to be political without being didactic. Her characters live (rather than preach) through history, grappling with the transition from totalitarianism to democracy.
This is one fine neo-noir, expertly directed by Ridley Scott with a host of superlative star turns from Michael Fassbender, Cameron Diaz, Javier Barden, Penélope Cruz, and Brad Pitt.
Director Scott Edmiston’s carefully staged production generates sympathy chiefly because of some deft acting rather than the writing.
Nina Schuyler’s uneven novel raises some interesting questions in the course of the protagonist’s quest, and there are many fascinating details about Japan and Noh plays and the power of silence.
So is the book worth reading? Depends how interested you are in twentieth century cultural history, in music and creative genius, in marriage and sexuality.
The moral urgency and the humane distribution of Adelle Waldman’s authorial sympathy are evident everywhere in “The Love Affair of Nathaniel P.”
Arts Remembrance: Sonny Rollins, Jazz’s ‘Saxophone Colossus,’ Dies at 95