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Each month, our arts critics — music, book, theater, dance, television, film, and visual arts — fire off a few brief reviews.
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Filled with B-movie puppet antics, “Frankie Freako” is a joyous throwback to the days where you could walk into a video store and rent one of a dozen Gremlins rip-offs about someone’s mundane suburban life being upended by a bunch of little guys.
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We should be grateful for Ohad Talmor’s wide-ranging curiosity, not only because of the detective work he put into the Ornette Coleman/Lee Konitz recordings, but because of his uniquely varied presentations of these mostly unknown pieces.
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This week’s poem: Adeena Karasick’s “On the Uncertain Certain: Negotiating Deepfakes and Shallow Discourse in the Counterpoise of the Unthought”
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It’s a rare treat to hear these three Francis Poulenc sonatas on a single program.
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“I still pinch myself that I got to work with Clint Eastwood. But any anxiety quickly dissipated upon meeting him. He is so cool and calm and funny and easy.”
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A corrupt media lies at the core of “The Seed of the Sacred Fig”‘s powerful condemnation of Iran’s politics, particularly their treatment of women, often in unexpected ways.
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In Godwin Louis’s music, prayer seems best expressed in dance.
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Carlos Simon’s gifts and voice are real even, as with every composer, his muse sometimes leads him down errant pathways.
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There’s plenty in Magnus Lindberg’s viola concerto to occupy the ear, and pianist Claire Huangci makes the complex passagework of a trio of American composers speak with breathtaking ease.
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