Review
Joanna Hogg refuses by aesthetic principle to put a lot of inflection into her scenes, steering them away from melodrama and even heated drama. As a result, some episodes are half-baked, sketchy, and flat.
This marvelous production pulls off a tricky balance — vibrant bursts of creative energy are put at the service of illuminating the thorny nature of memory and guilt.
In this piece, Peter DiMuro asks a vital question: how has history informed the ways we look at queerness today?
Jean-Philppe Blondel’s books are especially praised by critics for their charm and smoothly-shaped prose.
A splendid production of an impressive early effort from the talented writer Kenneth Lonergan.
The six pieces hailed from various corners of the country and examined a wide range of expressive and social viewpoints.
As a vision of gay bonding, The View UpStairs exudes a wonderful in-your-face spirit.
The play’s disparate elements have been blended into a riveting drama, energetically directed by Lisa Rothe, and nimbly performed by Joel de la Fuente.
Of course, history has not come to Deadwood to douse the smoldering embers of the past, but to supply more kindling.
François-Xavier Roth’s Mahler offers plenty of personality and ideas; there’s nothing on Mariss Jansons’ disc that’s really worth your time; guitarist Daniel Lippel draws out Steve Reich’s lyrical qualities.
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