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It was a rocking night, full of fun and energy. It was intelligent, maybe even a bit brainy at times.
“The Boston theatre community can always profit from international influx. The German theatre scene in particular is quite innovative both in the plays being written and the productions that reach the stage.”
THE ART OF ROBERT FROST helped me get closer to the poems and in doing so helped me get closer to the poet.
For performers and audience members alike the Shalin Liu setting is as much a part of the experience as the music. It has quickly transformed the intimate hall into a destination location for a growing number of admiring artists.
The director of THE MASTER, Paul Thomas Anderson, runs toward Scientology as fast as he runs away from it and its top guns (Tom Cruise did visit the set to lodge a few complaints).
The first episode of the “Blood Rose Rising” series possessed creepy comic potential and an intriguing mix of multimedia, magic, and thrills that hinted at even better things to come. Alas, these hopes were dashed.
Mark Harvey and the Aardvark Jazz Orchestra: It’s hard to remember what the Boston jazz community was like before Harvey came along. In fact, the term “jazz community” would have seemed far-fetched at best if anyone had used it.
Director Paul Thomas Anderson doesn’t provide answers nor does he pose questions: the ambiguity of his characters and his confounding storytelling style are what drive “The Master.”
Intimacy has been the key note of bossa nova performance ever since the initial murmurings of Joao and Astrud Gilberto, and singer Eliane Elias can whisper with the best of them.
This weekend’s soloist, Joshua Bell, is a performer who perhaps best approximates Leonard Bernstein’s charismatic personality in performance: a fully engaged interpreter, he does not shy away from physically expressing the emotional content of what he’s playing.
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