Review
Peter Wortsman has made a valuable contribution with this play; it is a rare theatrical account about how living through the Holocaust shaped survivors.
Françoix-Xavier Roth delivers a must-have cycle of Robert Schumann’s symphonies; Herbert Blomstedt’s Brahms’s Symphony no. 1 is spacious, restrained, and – too often – dull; Daniel Barenboim’s latest Elgar installment features a regrettably unsung masterpiece.
Hub Theatre’s virtual production of Much Ado About Nothing recognizes Zoom’s potential for farce and leans into it: this is a rollicking delight of a show that refuses to take itself seriously, to everyone’s benefit.
To Sound of Metal’s credit, the narrative remains open-ended, refusing to descend into a predictable “Hollywood” story of triumph over adversity.
Bill Irwin’s homage to Samuel Beckett explores what makes the writer so fascinating, even inspiring, for those who appreciate the knockabout beauty of his despair.
To his credit, Kawaguchi is a canny enough craftsman to give the time tripping cliché a healthy spin.
This is history from a distance. Harris’s characters feel more real when they’re working out the equations that will make a missile fly or fall than when they’re fleeing a double agent or a misfiring rocket.
A trio of recordings help us rethink and rehear composers as varied as Barbara Strozzi (from the seventeenth century), Chopin, and Mahler.
Now that ¾ of the Yellowjackets are eligible for Social Security, the emphasis is more on confirming a legacy of creative compositions and expanding their art of arranging with a broader range of colors.
A powerful allegory for our techno-crazed, consumption-addicted, soul-crushing times.
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