Posts
In its 4th season, Insecure remains a hilarious look at the lives of black millennials growing up in Los Angeles.
The two best things about Simon Rattle’s new recording of Die Walküre are, well, Rattle, himself, and the Bavarian Radio Symphony Orchestra; a strongly played and majestically sung performance of Felix Mendelssohn’s unfairly neglected Die erste Walpurgisnacht.
More proof that Offenbach’s is a remarkable body of work; a serviceable, but not particularly notable, Cavalleria rusticana; another installment in the Rossini Project, brilliantly curated, stirringly played and sung, and beautifully recorded.
This is hard-hitting neo-noir parable whose dark humor delights as it strikes at the corrupt heart of business as usual in Argentina.
A terrific release showcases the Boston Symphony Orchestra and composer Thomas Adès. Michael Tilson Thomas and the San Francisco Symphony deliver a radiantly honest recording of Aaron Copland’s Symphony 3.
One thing that gives Marc Maron’s comedy a certain punch is that he is an equal-opportunity crank.
There’s a story yet to be written about art dumping; theater and dance dumping; even film and TV dumping now that live performance and production of all kinds has shut down.
Killing Eve is as exciting and compelling as ever. But its narrative structure is becoming somewhat fractured and increasingly odd.
I’m curious to see what happens next. I’ll keep writing plays, but I might need to hone my skills as a handyman just in case this whole theater thing doesn’t pan out.
Visual Arts Commentary: The Shock of the Cute — Too Much of a Cute Thing?
What gives with the overbearing presence of cuteness throughout the world of contemporary visual art?
Read More about Visual Arts Commentary: The Shock of the Cute — Too Much of a Cute Thing?