Review
Brian Seibert’s history of tap dancing has unleashed something I can only describe as a tap world pissing contest.
Those assembled at Boston’s Jordan Hall were thoroughly prepared to be enraptured.
Jason Isbell has got sober, and his songs ring with the urgency of the newly recovered (and newly remarried, to his violinist Amanda Shires).
Okada’s play reflects how skepticism has become the default stance for young adults shellshocked by post-recession economic restructuring.
The movie plays all sides equally, providing no answers, no favorites, no villains, no heroes. Everybody’s motives and ethics are in question.
In a period of radicalism and terrorism, this installation serves as a beacon for remembering the beauty of the best of Islamic creative culture.
1984‘s theatrical vision of authoritarianism in action is not for the faint of heart.
Elgar’s brilliant scoring in his Symphony no. 1 was front and center, in this performance not an end in itself but serving clearly expressive goals.
No one I know is neutral about this kind of material and I was pleased to watch a play that did not shrink from its many complexities and challenges.
Nobody, these days, plays the music of the Strauss family better than the Vienna Philharmonic Orchestra.
Fest Review: IFFBoston Shorts — Part One