Review
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.
Following a very compelling second season, the series seems to be losing its edge, slightly, though only intermittently.
Now more than ever, “the people,” of all ages, want Queen. How lucky we are that Lambert, May, and Taylor are willing and able to deliver.
Arts Commentary: What Historical Fiction Can Teach Us About America