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A hedonist and humanist, admired filmmaker Ricky Leacock was curious about everyone, including the rich and famous, especially if he could show them sans their celebrity masks.
The chief glory of the Lyric Stage production: an ensemble of eight actors that agilely accents the humor dramatist Lynn Nottage utilizes to temper her examination of the darker racial and political subtexts of the period.
The Berklee Contemporary Symphony Orchestra sought bravely to straddle the jazz and classical worlds with a little help from some star soloists.
Bianco Amato is a marvel as Anton Chekov’s widow, Olga Knipper, who can turn her fake emotions on a ruble.
The journey of Anders Zorn, from Swedish hamlet to the top echelon of society portraitists and back again, has a couple of messages for us. The first leg of the journey tells us that careerism is not a new phenomenon in the art world. The second tells us what it may be worth in the end.
Beyond the Hills is not the horror film the trailer seems to advertise, but it is certainly horrific.
In the end, it is not the brilliance of his criticism or the strength of his prose for which we will remember Roger Ebert, but his humanity and his love—for film, for life, and, most of all, for people.
“Once people hear this music they do indeed come back for it – it is pleasing on so many levels: it soars, it soothes, it excites, it transports.”
It is April in New England and for local music that means one thing, it’s time to RUMBLE!.
The Boston Camerata proffers a constant sense of discovery and rediscovery, of unusually lively musicianship and scholarship, and a sprightly sense of the humanity – and the snarly complexity – behind the music it performs.
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