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For their debut on Sunday, Odyssey Opera and conductor Gil Rose could hardly have picked a more spectacular, unfamiliar epic than they did.
What is a problem, however, is that despite a fairly promising start, nothing at the beginning of MGMT can make up for the migraine inducing cacophony of pointless sound that is the album’s final half.
We’ve heard all these gripes before, in life, in books, on TV, and in piles of movies. But Kathryn Hahn, is so enthralling and right that Rachel’s alienation, her poor little rich girl suffering, feel harsh and real.
George Scialabba is still outfoxing the professional eggheads in For the Republic, his third collection of essays on political and cultural topics.
Playwright Stephen Jeffreys, despite his gifts as a writer, seems unable to find the dramatic stakes in his play.
While it has its highlights, The Family limits our frame of reference to other movies, rather than anything resembling real life.
Teaming up allows Bridge Rep, as a new company, to do a much, much bigger show than we might ordinarily be able to do: we can offer our audiences a large ensemble piece like The Libertine, which would be beyond our reach otherwise.
Director Spiro Veloudos keeps the clockwork running smoothly, not just ensuring that that the actors keep the rhythm, but making use of a skilled backstage crew who engineer (miraculously and on time) scenery and costume changes.
The breath of contemporary Latin American visual art, as shown in this splendid exhibition, is vast.
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