Review
A trio of companies — Barrington Stage Company, Great Barrington Public Theater, and, to a lesser extent, Berkshire Theater Festival — draw on the stage’s power to address our current political emergencies.
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If the destiny of documentaries is to become celebrity profiles, it could do worse than those screening at this year’s PIFF.
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The film offers some intriguing twists and turns, and the excellent cast propels the narrative forward admirably. But the screenplay tries a bit too hard to dramatize character transformations in a short period of time.
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The magic in Eliane Elias’s performances is in how easily she slips from one musical dialect into another.
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Surprisingly, the 17th- and 18th-century drawings and prints in “Pastoral on Paper” proffer bold experiments in charcoal, chalk, and gouache.
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A trio of superb albums run the stylistic gauntlet, from the traditional to the experimental.
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Bottom line: for all of “The Phoenician Scheme”‘s visual glories, the whimsical portrait of a shady arms dealer who becomes a mensch in the bosom of family rings hollow — especially at the present moment.
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Over the decades, James Lee Burke has built up a distinctive and glorious body of work, and “Don’t Forget Me, Little Bessie” is a notable addition to the canon and possibly his most comprehensive.
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What our planet needs now is the reincarnation of a writer who, while combing through the nooks and crannies of society for painful truths, uses depictions of the present to demand future changes.
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Overall, this is a satisfying production of a turn-of-the-century play that still underlines enduring economic inequity.
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The 20th Annual Francis Davis Jazz Critics Poll: The Institution Continues