Review
In his Boston Globe review, Ty Burr complained Félix and Meira was needlessly slow in the telling. I felt that the movie is needlessly discreet.
Aloha comes across as Cameron Crowe’s baffling artistic suicide note to his adoring public.
Biographer Annie Cohen-Solal is perhaps strongest on one thread of Mark Rothko’s narrative: his experience as a Jewish immigrant.
Nobel laureate Patrick Modiano understands that time periods can mesh, interpenetrate, layer up, blend, and blur naturally in the mind.
Patrick Dougherty’s Stickwork is a remarkable piece of public art.
Author Vivian Gornick’s discontent is foundational, fertile, unquenchable, except by writing, and quite often funny.
Rarely are Boston’s stages graced with a Shakespeare production that reaches this high a level of accomplishment.
Part of the maturity of Davey McGravy is how, though each poem has its own shape, each is a necessary part of the whole.
The performers must be so deeply invested in what they are doing that we are caught up in the narrative as its cobwebs are brushed away.
What happens when someone performs at the highest possible level of an art form and then has to give it up?
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