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Now in his mid-50s, Esa-Pekka Salonen is one of the most interesting and important composers of his generation and the recent attention his music is receiving is well deserved.
Bare bones, determinedly unhokey, and intimate, director David Cromer’s matter-of-fact approach does away with the irritatingly self-conscious fussiness that afflicts so many productions.
In his book “Ferocious Reality,” Eric Ames offers an insightful, well organized, and readable study of Werner Herzog’s documentary work that explores the director’s earliest films as well as his most recent ones.
In Memphis, the risqué exhilaration of early rhythm and blues is airbrushed away, to the point that the show appears to argue that from its inception black music sold out to mainstream tastes.
But sometimes, though it may defy certain sorts of expectations, Jews excel not because they have higher sports IQs but just because they are better.
At first glance, Oz and Oz-Salzberger’s “Jews and Words” seems to be an unexceptional if elegantly written and occasionally witty contribution to the Jewish bookshelf.
Moonbox Productions, one of the small theater troupes that bubbles with new talent from the Boston area, has mounted an affecting production of “Of Mice and Men.”
Larry Coen directs “Chinglish”’s awkwardly written romance with a savory earnestness, but he can’t put the pieces of the fragmented script (you laugh/you cry) together.
Touted in author Jonas Jonasson’s native Sweden as the perfect antidote to the grim noir Swedish trilogy that begins with The Girl With The Dragon Tattoo this delicious book has sold over 3 million copies around the world.
This version of “La Belle et la Bête” never commits to a through-line about how its metaphors and rich visual imagery are supposed to operate.
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