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Because the upheavals of the ’60s parallel various breakdowns that are happening at the moment, “Palm Royale” turns out to be an effectively pointed lampoon, rather than just another gratuitous swipe at the upper crust.
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This year’s Salem Film Fest spotlights the price of being a rebel.
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Moppa Elliott makes eminently approachable music at a very high standard, with great ingenuity and sophistication. He has proven himself to be one of the most inventive and creative composers for small jazz ensemble since Charles Mingus.
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Saturday night’s advertised performers paid robust homage to the late Gary Smith — the Fort Apache Studios owner, producer, and band manager — across three and a half hours at the Somerville Theatre.
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The Disco Biscuits are playing champion-level shows following a period of rebuilding and recalibrating that brought the band out of semi-retirement.
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The notion that columnists like Breslin were “deadline artists” is apt. Their task was to come up with a story idea, track it down, then give it a narrative spark, all ahead of a ticking clock as the drop-deadline for the next edition loomed.
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Guitarist Julian Lage wants his music to have a certain paradoxical lightness: to be “reckless and durable” at the same time.
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Much-loved short works by Pergolesi and Mozart storm the stage, thanks to spiffy French dialogue between the musical numbers.
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Professor Crowl’s attachments to both Shakespeare’s plays and the play of the Detroit Tigers are sincere and durable.
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