Review
This Nashvillian has a simple message for America: “You best pull yourself together, or you might never be the same.”
In this always compelling production, director Carey Perloff decided to bring the uncanny on stage, almost as a sixth character, in the form of composer/musician David Coulter.
Dumas’ Camille is nothing if not ambitious. Such complexity is seldom found on a summer stage.
This album lacks the desperation, the immediacy, the sheer power that made Sleater-Kinney essential in its original decade.
In this extraordinary recording, harpsichordist Mahan Esfahani is given a chance to perfectly convey the power of his emotions.
I left thinking that holding a blues (or a jazz) festival in every city and town would not be a bad idea. It’s a better way for municipalities to spend their money — with a surer payoff — than tax abatements for Amazon.
feels both cautionary and elegiac; it is obviously relevant in these times of extremism and the rise of small town tyrannies.
Gallim specializes in depicting raw emotions through movement.
Playwright Rachel Bonds has written an often-hilarious script which nonetheless deals with such serious and widespread issues as spousal and child abandonment, drug addiction, the right to death with dignity, and same-sex adoption of children.
After the Wedding never finds its emotional rhythm; melodramatic confrontations about betrayals and past choices lurch clunkily along.
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