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“The main idea I’ve been working with is what I call the longevity revolution.” — Theodore Roszak
Dramatist Jason Grote spins a postmodern, political variation on Scheherazade in his play 1001, and while it skimps on the imaginative playfulness of other versions, its time-tripping allusiveness has a scruffy intellectual charm.
Every musician brings his idiosyncratic personality to his (or her) playing, and yet, even after four big pieces, I was not sure what Russell Sherman’s non-piano or piano personality was.
On CD, the award-winning Emerson String Quartet are terrific, but live, they are even better.
For those who imagine Tanglewood only as concerts in the huge shed which seats 6,000, these Sunday morning concerts offer a more intimate experience as well as a chance to hear modern pieces they never would hear in what we all call the “regular concert fare,”
The late Karen Aqua was the rarest of birds — a working artist who seldom needed to compromise her ideals in order to succeed. Befitting the legacy of this vibrant visual artist, husband Ken Field and a small team of volunteers organized a public memorial/celebration of Karen’s life for family, friends, and colleagues Sunday, July 10th at Somerville, MA’s Center for Arts at the Armory.
The documentary TABLOID comes at an opportune time: an enigmatic look at one of the greatest tabloid stories of all time (the film will convince you of that) as Rupert Murdoch’s tabloid news empire melts down amid allegations of phone hacking.
While by no means the headiest permutation of commedia dell’arte, Shakespeare & Company’s production of THE VENETIAN TWINS is skillful as anything a commedia enthusiast might hope to see.
In his book Amusing Ourselves to Death, Neil Postman argues that American culture is becoming dumber and dumber—plays like Matt & Ben suggest that we have entered the afterlife. Matt & Ben by Mindy Kaling and Brenda Withers. Directed by M. Bevin O’Gara. At the Central Square Theater, 450 Mass. Ave., Cambridge, MA, through August…
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