Review
The Belvedere Series is a chamber music group whose mission of bringing the art form to new audiences is matched by an admirable desire to expand and redefine just what the canon is. Even better: that ambition is backed up by top-flight programming, playing, and musicianship.
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It’s wonderful to see the cinema do justice to the magic of this beloved musical.
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Director David Charles Rodrigues incorporates this wealth of material, a superflux of images generated by Genesis P-Orridge and the various artistic enterprises s/he founded, with concision and insight. The life and work of his subject is chronicled over the course of a lucid and kaleidoscopic 100 minutes.
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Because this “play” relies on audience participation, Vinny DePonto selects inevitably befuddled men and women from the audience on which to demonstrate his mental prowess.
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Let’s hope the exhibit inspires some critical thinking about the importance and fragility of democracy, both here and around the world.
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The only serious flaw in Boston Lyric Opera’s stripped-down staging approach to Aida was that not all the participants were quite up to the organization’s usual standards.
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When the performers finally left the platform, breathing hard, crawling towards us and into the audience, I realized I was seeing something new.
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Abigail C. Onwunali’s powerhouse performance is memorable, but the mechanics of Mfoniso Udofia’s play don’t always match the lead’s boundary-stretching strengths.
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“Hot Frosty” is dumb all right, but it’s also endearing, funny, and cute.
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Just how unethical was the Stanford Prison Experiment? Could anybody — in good conscience — recreate it? Why does being given authority change people so radically?
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