Review
In this superb production, George Bernard Shaw’s version of Wonder Woman is far from a comic book savior.
Dominique Morisseau’s monologues and dialogues draw you into the details of American working class life.
Bill Maher’s once robust contrarian streak has shriveled over time.
Pianist Ahmad Jamal rose to fame by doing something completely different.
Conductor Yannick Nézet-Séguin does dazzlingly right by the symphonies of Mendelssohn.
Given the country’s current existential crisis, this genre-bending, ambitious-to-the-max debut novel about an uprising in Puerto Rico comes at the perfect time.
A wonderful new performance of Mahler’s three orchestral song cycles; Daniel Reuss’s account of the oratorio Le Roi David is basically flawless.
Fresh Ink Theatre is to be applauded for taking risks, for daring to mix it all up, for giving audiences a taste of what theater, shelter-skelter version, can be.
The interviewees sound warnings about how we have self-sorted, online and in the real world, into echo-chamber communities of like-minded people.
So now you know: Saddam’s fearsome weapon of mass destruction was a novel.
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