Review
Robert Frank had dared overturn the central conceit of the great photographs of the Farm Administration 1930s; that the poor were noble creatures.
The BSO’s performance of the Alpine Symphony had purpose and direction.
Probably as it should be for a group called the Actors’ Shakespeare Project, the performances in Julius Caesar are the thing.
Leann Osterkamp’s playing is rhythmically alive and sympathetic to Leonard Bernstein’s style; Seong-Jin Cho shows that he is an important pianist to watch.
The BPYO is as responsive, confident, technically skilled, and emotionally expressive an orchestra as they come.
I enjoyed God’s Own Country for its realistic style and its unflinching vision of intimacy.
Scripts like The Hearing also provide an optic through which to examine our own nation’s problems.
Soft Thresholds is about opening up physical boundaries: an elephant village is one of a number of the firm’s marvelous examples of this commitment.
Like going to Mecca, shouldn’t every committed cinephile get to the Carthage Film Festival once in a lifetime?
What we don’t know about the brain and the heart drives this at times unwieldy, yet ultimately satisfying, theatrical work.
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