Review
Cheryl McMahon is quietly spectacular as Ida, who tries desperately to conceal her cognitive decline behind a wall of egocentric cheerfulness that borders on the frantic.
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It was as if the pianists were performing in a small drawing room for a few friends, not at Jordan Hall.
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The Lodge suggests that our money, social privilege, and carefully-crafted stability are not enough to keep the wolves from the door, or to protect us from the dangers that lurk indoors.
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There’s hardly a minute in this hour-long show that isn’t stirred by singing, clapping, stomping, and drumming.
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The band has tackled the Trump era with an urgent political edge on two recent albums that have surely lost them a share of good ’ole boys who were part of earlier audiences.
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Composer Steve Lampert wrote “Zigsaw” at the request of saxophonist Noah Preminger, whose group recorded it for one of 2019’s most provocative albums.
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At times, Zombi Child successfully hovers between spooky documentary and an art house coming-of-age film.
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A pianist of real character and refinement – plus a huge career in Europe – Lucas Debargue was on hand to lend his musicianship to a relatively rare outing of Franz Liszt’s Piano Concerto no. 2.
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Pauline Kael capitalized on counterculture snobbery, the pecking order of the oh-so enlightened.
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As my second wave feminist companion said as we left the theater, “That was hilarious. And I am SO ANGRY.”
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