Review
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.
SpeakEasy Stage Company has (once again) chosen a bold script for its audience.
Performed 1600 times in Paris, then forgotten, Hérold’s brilliantly witty, Le pré aux clercs shines again in a splendid recording.
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.
Musicians active in Boston, Washington DC, and Australia discover previously unrecorded gems, including works by women composers and composers of color.
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.
It’s as though Moxie‘s writers pulled out a long “woke” checklist and tried to cram in something about every hot button issue they x’ed off.
If I’m being too harsh on Trans in Trumpland it’s because we cannot afford to fall back into the liberal complacency of the Obama years.
The world-premiere recording of a first rate production of a brilliant, fantastical opera, unstaged and unheard since 1914.
Exuding a guerilla theater, agitprop vibe (with touches here and there of vaudeville and live sketch comedy), F.T.A. is a thrilling expression of pacifism and accountability directed at the military.
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