Review
Fans who at least followed the band through its heyday in the late ’80s and early ’90s couldn’t have predicted the Mekons would wind it back in 2025 behind a new album just as galvanizing as their past catalog.
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The Off Broadway revival demonstrates how 10 years of dedicated work can make a mediocre musical even worse.
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At its best, Mark Twain emerges in this biography as much a live wire as ever: brash, outspoken, and overflowing with exasperating contradictions.
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“Too Much”‘s swings from comedy to tragedy generate considerable whiplash.
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No one argues about Israel or Hamas, or even mentions the words. All the same, caring this much about Palestinians’ lives is inherently political.
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It is entertaining, but Lindsay Joelle’s script supplies only a tiny, sometimes contrived glimpse at a profession that deserves to be treated with more nuance and understanding.
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Watching a historic reality show now takes on a different meaning than it did 20 years ago. Today, our reliance on technology borders on nightmare Ray Bradbury territory, so modern-day folks trying to survive on the frontier looks like an impossibility.
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On the hard wooden benches of a jail in Lowell, dialoguing with his street-fighting antagonists, we sense the emergence of organizer Michael Ansara’s strategy for working-class political action.
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Jacob’s Pillow’s new Doris Duke Theatre is a complete triumph. It is, in artistic director Pamela Tatge’s words, “nothing like we had in mind but exactly what we thought.”
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Could it be that Erich Wolfgang Korngold’s Symphony in F-sharp is the big kahuna of our symphonic music?
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