Review
The Off Broadway revival demonstrates how 10 years of dedicated work can make a mediocre musical even worse.
At its best, Mark Twain emerges in this biography as much a live wire as ever: brash, outspoken, and overflowing with exasperating contradictions.
“Too Much”‘s swings from comedy to tragedy generate considerable whiplash.
No one argues about Israel or Hamas, or even mentions the words. All the same, caring this much about Palestinians’ lives is inherently political.
It is entertaining, but Lindsay Joelle’s script supplies only a tiny, sometimes contrived glimpse at a profession that deserves to be treated with more nuance and understanding.
Watching a historic reality show now takes on a different meaning than it did 20 years ago. Today, our reliance on technology borders on nightmare Ray Bradbury territory, so modern-day folks trying to survive on the frontier looks like an impossibility.
On the hard wooden benches of a jail in Lowell, dialoguing with his street-fighting antagonists, we sense the emergence of organizer Michael Ansara’s strategy for working-class political action.
Jacob’s Pillow’s new Doris Duke Theatre is a complete triumph. It is, in artistic director Pamela Tatge’s words, “nothing like we had in mind but exactly what we thought.”
Could it be that Erich Wolfgang Korngold’s Symphony in F-sharp is the big kahuna of our symphonic music?
In her new documentary about the crises in Brazilian democracy, Petra Costa examines a factor involved in the election of Jair Bolsonaro that was largely overlooked in the first film — the toxic power of the evangelical movement.
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