Review
Sofia Coppola’s flawed characters are part of the real world, engaged in authentic relationships struggling with universal dilemmas.
The pathway to tyranny is paved by encouraging people to believe in the uselessness of science, logic, and expertise.
A taboo interracial romance may not be groundbreaking material for fiction, but Robinson’s spare conflicts are only the means to generate intimations of the profound in the everyday.
Bravo to the Bru Zane folks for this latest triumph! I encourage opera lovers to get to know this treasurable Spanish (or faux-Spanish) work by the pioneering master of nineteenth-century operetta.
He may be extreme as a polemicist, but Ricky Riccardi shines when he sticks to jazz’s history.
For fans of novellas, Filthy Rich will be a trashy guilty pleasure.
Charles Lloyd and Julian Lage and Zakir Hussain served a loose, flowing 65-minute set with complementary facility that belied the novel circumstances.
When Willie dove into “On the Road Again” to close the set, singing of “making music with my friends,” one could envision the same hopes for Farm Aid to resume its annual trek to an amphitheater somewhere in America and stoke the communal cause.
Agrippina (1709), an enormous hit at the Met this past season, proves, by turns, gripping, sardonic, and exquisite.
Theater Review: Penny Arcade — Provincetown, Puritans, and the Pandemic
I’ve hated enough people,” Penny Arcade confessed, “I can’t hate anyone new until 2022.”
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