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Chasing Rembrandt is a small show, probably quickly assembled to complement the TheaterWorks production. For curious viewers, though, it raises a number of provocative questions.
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The saxman and his usual band (including vocalist Patrice Quinn instead of the billed Ami Taf Ra) easily adapted to the 200-seat venue, barely modulating their visceral delivery while also highlighting their softer dynamics and a personal rapport.
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All of the characters in Back to the Dirt are, in a sense, survivalists, people clinging onto what’s long gone, stockpiling karma for an apocalypse that is already upon them.
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Singer Marc Jordan has earned his voice the hard way, trekking through the music business for 50 years, and there’s a weathered honesty in his music now.
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An avant-garde iconoclast, Nam June Paik once said “It’s an artist’s job to think about the future.”
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This week’s poem: Jon Woodward’s “Spare An Origami Autobiographer.”
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So much of David Sakura’s narrative in Shared Spaces reminded me of the stories of other traumatized groups.
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In both performances tempos are fleet but not rushed. The big moments – from the hellish apex of the first movement’s development to the screaming climax of the Scherzo and the cathartic resolution of the finale – pack heavy punches.
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A marvelous first recording of a highly engaging opera by Baroque composer Bernardo Pasquini, known until recently for a single piece: “The Cuckoo.”
Book Review: “Fearless Women” — A Vivid, Rounded Portrait of the Choices Facing America’s Women
Fearless Women is so well-written, so well researched, and so engaging that you will find it of real value even as it tells some stories you thought you already knew.
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