Review
A clever British import and a soulful Cuban music-fest reflect a season that delivers the full range of musical storytelling Broadway’s been missing
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Check out the book to absorb the trajectory of Doc Watson’s career from impoverished guitar player to becoming an icon of Americana, and a repeat winner of Grammy Awards.
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Heartwarming themes of love lost and the emotional power of music are undercut by a script constructed for the sake of dramatizing ideas rather than characters.
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The Sphinx Virtuosi is terrific: the group’s unified tone and articulations, impeccable responsiveness and technique, and command of stylistic nuance are all of the first rank.
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The all-too-human propensity for not only telling yourself what you want to hear but taking what you see at face value is what drives the action.
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For those with an appetite for lyrical absurdity, this dark and demanding journey into a bedeviled night will repay the effort.
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Ace performances help make Night Side Songs a rich and moving experience, compounded by the fact that it is valuable to be in a room full of empathy and love in these trying times.
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With so many cooks, flaws were inevitable. But the effort was noble, and hearing Terence Blanchard’s beautiful trumpet sound in Symphony Hall was a transcendent experience.
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Richard Kreitner’s narrative shows that, in general, Jews were apparently no more intolerant of slavery than any other Americans – notwithstanding their spiritual and national history of liberation from bondage.
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“The Triumph of Love” lacks the physical comedy and swift action that usually characterize a farce. Here the dialogue is the action.
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