Review
As usual with Craft Recordings reissues, these lps are impeccably produced: the silence of the recording before the music starts is almost startling, but it’s the clear sound of what follows that is most impressive.
This American Repertory Theatre co-production gets so many of “Evita”‘s elements right — now all it needs is the musical’s combative soul.
We have the satisfying conclusion to a series that proved episodic dramas can — in fact, should — grow in depth past their first season.
The problem is that the factoids and bits of trivia supplied by Act Naturally rarely tie back to any larger narrative, or serve any discernible purpose other than to be cataloged.
Historian Jackson Lears assembles sightings of a world that’s changeable, mutable, and filled with animalism, vitalism, or whatever else you want to call it. But what’s the point?
The Gaaga’s humor is driven by rage, anger, and disgust, emotions that are not often found in our domesticated (for easy consumption) theater scene.
Reasons to be outraged and hopeful at this year’s Human Rights Watch Film Festival.
In The Flounder, John Fulton is clearly at the top of his game. His prose has that rare thing — a sense of intimacy.
The Museum of the Revolution resonates with other powerful documentaries that feel like fairy tales set in a dangerous world.
Ah, the trees! They are the focal point, the organizing principle, of this tight exhibition, which in three parts tracks Van Gogh’s productive yet challenging sojourn in southern France, from Arles to Saint-Rémy.
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