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The only way to sort of enjoy “Family Tree” is with modest expectations; and indeed, this is the most modest of series, as Christopher Guest cuts his molars on TV with a program which rarely tries to be more than fairly amusing, mildly ambitious, a kind of bemused apprentice work in a new medium.
Yes, there is dance in New England this summer, but those who love motion may need to embark on a little themselves to journey further afield to watch it. The trip, I can assure you, will be worth it.
Any American arts critic worth his or her salt is part of a bohemian fringe, is aware of the political resonance of reviews, and is dedicated to sparking serious dialogue about arts and culture.
Tamir Hendelman’s remarkable keyboard skills are matched by his immense versatility. He’s an award-winning composer and popular session player who brings all-star talent to every gig.
Despite “Middle C”’s relative cheeriness, the novel passes a tough sentence on the human race, so uncompromising that its protagonist has a hard time writing it down.
In the end, the technological snafu probably did more than the musical selections themselves to prove that listening to symphonic music ‘live’ is not a stuffy affair.
Respect for the building and its makers, respect for the historical study of art, respect for the visitor’s relation to the displays. These are qualities that I find in the New Rijksmuseum and missed in the old one.
There is a steadiness about Nicholas Roe’s writing that is deceptive; the life in the Life does not jump off the page, but it accumulates during the reading so that something of what it felt like to be around John Keats remains, as things do when truly experienced.
“A Constellation of Vital Phenomena” is spectacular.
May is inevitably one of the busiest times of year on the Latin, gospel, and R&B concert calendars as promoters hold Mother’s Day’s events and try to lure audiences indoors one last time before the start of summer.
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