Month: November 2019
Ken Ludwig’s stage version of Murder on the Orient Express is an enjoyable diversion.
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Terry Tempest Williams thinks that we must seize opportunities to save an increasingly endangered world — we don’t have a choice to feel powerless against the forces that seek to exploit and destroy the beauty of life on this planet.
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Octavio Solis’ Quixote Nuevo, is a genial, and very American, riff on Don Quixote.
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“People love a story, they always have, and always will, and stories are an essential ingredient in this folk music revival, which started sometime in the early ’50s.”
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The Boston Philharmonic Youth Orchestra’s first appearance of the season presented canonical selections without a hint of complacency or apathy.
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The Brit-born iteration of mind-expansion music — from Syd Barrett onward — favors clever wordplay and musical accessibility.
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Waves is a plea for mutual understanding, for acts of grace that transcend race, age, gender, and social status.
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Let the unimaginative people diddle around with their baseball cards and stamp collections. This is the kind of irrational, eccentric passion that you will be remembered for.
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For all its cinematic zest and superb acting, The Irishman offers a bleak demonstration of what happens when you sell your soul for too little.
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Critical Commentary: A Few Thoughts about John Simon
Few critics proclaimed that the emperor was naked as a jaybird with as much savvy panache.
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