Review
This horror comedy traps a cadre of privileged, narcissistic Zennials in a whodunit murder mystery and lets their internet-addled delusions of grandeur tear them apart in the paranoid fallout.
Walter Crockett’s beautiful album is as multifaceted as life itself.
Nico Muhly’s writing in Stranger is of a type of post-Minimalism: often pulsing (or undulating) and rhythmically driven, though anything but harmonically simplistic.
We Carry Their Bones arrives at a time of increased interest in the history of racism and reform schools, particularly in Florida.
A serving of the essence of the music of John Corigliano: a blend of old and new, radical and traditional that has made him such a singular force in American music over the last fifty-plus years.
Symphonic music wasn’t composer Florence Price’s strong suit. Rather, she was much more at home working in smaller forms or for her own instrument.
This is a release that showcases many of Andris Nelsons’ strengths, including his strong sensitivity for instrumental colors, blends, and balances. At the same time, it also demonstrates the conductor’s hit-or-miss nature with the core repertoire.
I applaud She & Him’s selection of Brian Wilson tunes while at the same time feeling that some are not well-suited to their loungey, languid pop stylings.
It is dark, so very dark, at the ocean’s bottom. And yet, there is also a disquieting, wonder-filled magic in the child’s moon which hovers over these poems; an incantatory moon echoing like a lullaby, drawing on a time of innocence.
Theater Commentary: Maine’s Hackmatack Playhouse — After 50 Years, a Fond Adieu
When Hackmatack Playhouse closes, that will leave, by my count, just one non-equity, professional summer resident theater in Maine: Acadia Rep (founded in 1973) located in Somesville, near Bar Harbor.
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