Review
Considering the show’s uneven writing, there’s no certainty that Genera+ion will last longer than a viral TikTok video.
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The conversation between Ravi and his mother is funny, engaging, and often illuminating; their real life bond is palpable as the pair try to reconcile the young man’s hopes and dreams with his Indian heritage.
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These two performances showcase a group of instrumentalists whose collective musicianship is electrifying: full of just the right combination of wonder, play, and discovery this much-loved repertoire needs in order to sound fresh and truly come to life.
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I have only one criticism of André Gregory’s fabulously entertaining book: I wish it was twice as long, or even three times its 208 pages.
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Radiating a shaman-like mysteriousness, Maria Schneider prowled the performance space, calling forth dark twists and turns from the collective while summoning anguished expressions from the soloist.
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SpeakEasy Stage Company has (once again) chosen a bold script for its audience.
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Performed 1600 times in Paris, then forgotten, Hérold’s brilliantly witty, Le pré aux clercs shines again in a splendid recording.
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This debut novel concentrates on the vagaries of desire, but in a spare, uncomplicated, and natural fashion that sets it apart from any formulaic romance.
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Musicians active in Boston, Washington DC, and Australia discover previously unrecorded gems, including works by women composers and composers of color.
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Here’s yet one more fantastic thing about it no longer being 2020: it’s now the 50th anniversary of the excellent music that premiered in 1971.
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