Review
This alternately ecstatic and murky, pointed and obscure, allegory is a rare attempt to confront the pathological systems leading us to an uncertain fate.
Hopefully, Hollywood will take note of this impressive dramatic accomplishment, and more Indigenous stories will follow.
The letters of this protean figure in American musical theater induced in this reader a pleasurable mixture of nostalgia, voyeurism, and insight.
The high spirits and tolerance in this enjoyable production reinforce the director’s claim that this comedy is about expats striving for “a more balanced, egalitarian society.”
Eoin Higgins’s “Owned” is a provocative take on our shifting politics and the instrumental role the media plays in how the superrich maintain power.
Despite the passing years, personal loss, and shifting musical roles, Wednesday’s 80-minute set proved that everything’s indeed ok with TV on the Radio.
By Ralph P. Locke Joachim Raff’s energetic and characterful Die Eifersüchtigen hits its mark, in its first production ever. Joachim Raff: Die Eifersüchtigen (The Jealous Ones) Serafina Giannoni (Donna Rosa), Raìsa Ierone (Donna Bianca), Mirjam Fässler (Ninetta), Benjamin Popson (Don Claudio), Batthias Bein (Beppino), Balduin Schneeberger (Don Giulio), Martin Roth (Don Geronimo). Orchestra of Europe,…
As a legacy sequels “Happy Gilmore 2” one isn’t a hole-in-one, but it doesn’t roll into a sand trap either.
John Williams’s concert music may be intended to enrich and edify, but there’s always room for a little fandom, particularly on occasions like this. At 93, and after a lifetime of firsts, the composer deserves every accolade.
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