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The likable Commonwealth Shakespeare Company staging leans very heavily on the comedy in ALL’S WELL THAT ENDS WELL, minimizing the Bard’s melancholic undertow.
Enthusiasm simply wasn’t enough to salvage the production — the musical comedy 2010 contains too many pitfalls to overcome.
The production is set in France of the 1920s and artfully combines evocations of both Paris and the Forest of Arden: The city of lights is represented by miniature versions of famous landmarks: the Arc de Triomphe; Notre Dame, the Eiffel Tower — that twinkle at night and serve as props as well as set.
The wily Enrique Vila-Matas remains wary but respectful of Ernest Hemingway and asserts his independence by going on his own self-consciously vaudevillian way—Juan Gabriel Vásquez is too subservient to elude the shadow of Joseph Conrad.
Nothing would please me more than to believe the announcement made last week by the Van Gogh Museum, saying that one of the paintings in the museum that has always been called a self-portrait by Vincent van Gogh is in fact a portrait of his brother Theo
This was ensemble playing by two people who knew not only the music, but each other completely. There are some things you can’t fake, and one is ensemble playing with a person — or people — you love. (I speak from experience here). Everything was perfect.
July is a month when most of the great classical music is happening in pastoral settings and festivals around New England and far from Boston.
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