Review
Two art exhibitions in New York should be seen multiple times. Each will deepen your appreciation of a great artist. Neither is mobbed with visitors. Each, in this wildly overpriced city, is absolutely free.
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.
If the destiny of documentaries is to become celebrity profiles, it could do worse than those screening at this year’s PIFF.
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.
The magic in Eliane Elias’s performances is in how easily she slips from one musical dialect into another.
Surprisingly, the 17th- and 18th-century drawings and prints in “Pastoral on Paper” proffer bold experiments in charcoal, chalk, and gouache.
A trio of superb albums run the stylistic gauntlet, from the traditional to the experimental.
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.
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.
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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