Review
Bong Joon Ho’s “Mickey 17” is one of the most vicious, cruel, and savagely arch vivisections of our global economic and socio-political reality since… well… Bong’s 2013 movie “Snowpiercer”.
“A Man of No Importance” is a fitting finale for Paul Daigneault’s tenure as Artistic Director of SpeakEasy Stage Company because it is a paean to the power of theater as both an artistic expression and a place to discover community.
A review of two fine backstage (or offstage) comedies at the Berlinale — “Blue Moon” and “Koln 75”.
“Fable for the End of the World” reflects our own uncertain condition — there are possibilities unknown, alternatives that even would-be godlings like Elon Musk and his ilk have not accounted for.
In “Justice Abandoned”, Rachel Elise Barkow argues that much of the blame for the blight of American mass incarceration lies with the Supreme Court.
For poet Elizabeth T. Gray, Jr., the neurological is also archeological.
Playing side-by-side on two different pianos facing in opposite directions on the Symphony Hall stage, Vikingur Ólafsson and Yuja Wang were as complementary, in a flavorsome way, as lemon and chocolate.
Although novelist Halle Butler portrays the lives of millennial women (and men) as unhappy, anxious, and stressed, she does so in a highly entertaining way.
A lot goes on in an epic — three acts over three hours with two intermissions — and there’s boatloads for Kate Hamill to dramatize and for the audience to digest.
Cultural Commentary: On the National Arts
There’s nothing benign about what just happened on the banks of the Potomac. Indeed, the president’s move makes history of the most nefarious kind: for the first time, the federal government has hijacked what is supposed to be the nation’s premiere arts institution in an effort to explicitly censor voices and viewpoints it deems undesirable.
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