Review
Director David Charles Rodrigues incorporates this wealth of material, a superflux of images generated by Genesis P-Orridge and the various artistic enterprises s/he founded, with concision and insight. The life and work of his subject is chronicled over the course of a lucid and kaleidoscopic 100 minutes.
Because this “play” relies on audience participation, Vinny DePonto selects inevitably befuddled men and women from the audience on which to demonstrate his mental prowess.
Let’s hope the exhibit inspires some critical thinking about the importance and fragility of democracy, both here and around the world.
The only serious flaw in Boston Lyric Opera’s stripped-down staging approach to Aida was that not all the participants were quite up to the organization’s usual standards.
When the performers finally left the platform, breathing hard, crawling towards us and into the audience, I realized I was seeing something new.
Abigail C. Onwunali’s powerhouse performance is memorable, but the mechanics of Mfoniso Udofia’s play don’t always match the lead’s boundary-stretching strengths.
“Hot Frosty” is dumb all right, but it’s also endearing, funny, and cute.
Just how unethical was the Stanford Prison Experiment? Could anybody — in good conscience — recreate it? Why does being given authority change people so radically?
Sitting in my bedroom, viewing a screener copy of “Dream Team”, my initial bewilderment eventually curdled into boredom.
Documentaries on George Michael, Janis Ian, and Jackie Shane look at musicians who grappled with the fear and consequences of expressing their true identities.
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