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“Every record makes the setlist better because we get to keep the things that have really been killin’ and then do things that make you push yourself because these are songs that you haven’t played in several years.”
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The only serious flaw in Boston Lyric Opera’s stripped-down staging approach to Aida was that not all the participants were quite up to the organization’s usual standards.
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When the performers finally left the platform, breathing hard, crawling towards us and into the audience, I realized I was seeing something new.
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Abigail C. Onwunali’s powerhouse performance is memorable, but the mechanics of Mfoniso Udofia’s play don’t always match the lead’s boundary-stretching strengths.
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Now, at least through mid-December, bassist Tony Levin – also a prolific photographer and blogger on tour — remains happy recasting King Crimson dreams each night with Beat
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“Hot Frosty” is dumb all right, but it’s also endearing, funny, and cute.
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“Modern dance is not a secret club. Yes, we are presenting masterpieces by a visionary 20th century artist, but we are communicating that through the greatest dancers today, and showing how that work continues to evolve.”
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The 77-year-old Brookline sculptor has been exploring many sides of his chosen craft since his days as a senior at Harvard. And he was already dabbling in all sorts artistic endeavors long before that.
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A trio of jazz albums that dazzle in surprising ways.
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Just how unethical was the Stanford Prison Experiment? Could anybody — in good conscience — recreate it? Why does being given authority change people so radically?
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