Review
The Sri Lankan rapper’s outspoken support for refugees — the focus of her 2016 album — remains relevant as the United States and the rest of the world continue to grapple with immigration reform.
This is a dazzling debut by filmmaker Rose Glass, who has made a powerful film that is grounded, first and foremost, in the monstrousness of daily living.
Considering the show’s uneven writing, there’s no certainty that Genera+ion will last longer than a viral TikTok video.
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.
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.
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.
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.
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