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Director Refn’s craftsmanship isn’t in doubt here, just whether this deadening story was worth all the effort.
This production of “Pygmalion” is also a case study in how an accomplished director –- former Huntington Theatre Company director Nicholas Martin – weaves every part of his team into a seamless whole.
Austin Ratner’s follow up to “The Jump Artist” is an an exuberant, terrific novel — for its weaknesses, as well as its strengths.
None of this is to suggest that the members of Savages approve of the exploitation of women, whether those women are porn stars or just everyday women walking down the street. But it is to suggest that Savages are okay with sex.
Two current productions in the Berkshires — “Master Class” and “Hapgood” — feature excellent performances from powerful and accomplished actresses.
The Commonwealth Shakespeare Company’s production of “The Two Gentlemen of Verona” is spunky and engaging — but the play is spun in one direction, away from its weird edginess.
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.
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