Review
“Fun Home”‘s relevance not only lies in how it flawlessly interweaves three storylines that revolve around the same character, but how it dramatizes, with grace, humor, and pathos, a familiar human struggle — looking at our parents through adult eyes.
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Paisiello, one of the most successful opera composers in Mozart’s day, offers repeated delight and surprises in this entertainment, thanks to a splendid cast of mostly youngish singers.
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On Christmas Night is a welcome alternative to the inescapable flood of tiresome holiday songs currently assaulting us from radios and shopping mall sound systems.
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With youthful vigor, Yo-Yo Ma performed the complete Bach Cello Suites, intermixing the music with stories of personal success, wishes for future generations, and gratitude for all those who make the Commonwealth function.
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Returning musicals take another shot at success – with very different outcomes.
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Not only does Michelle Cann hold a seat in the upper echelon of stellar pianists, but she’s a great storyteller as well.
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The group’s arc over three nights celebrating 35 years clearly followed an upward trajectory, displaying moe.’s improvisational prowess and sense of communal fun.
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Literary critic Malcolm Cowley’s in-the-trenches vision of modernism deserves to extend beyond the halcyon epoch he witnessed — a case made splendidly by Gerald Howard’s biography.
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“Wicked: For Good” has its faults, but it still stands out as one of the stronger adaptations of a musical to film.
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Conveying the value of hope and resilience are undoubtedly important, but positing social and civic responsibility is also essential, and “Annie” clearly offers that opportunity.
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