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This, my friends, is what a capital D Diva looks like.
In this script, dramatist Martyna Majok has created an opportunity for those who live in (or near) cities to see and hear the struggles of the underclass.
It’s possible to argue with several of Stephen Sondheim’s selections. Are all of these his best achievements? Yet it hardly matters, because the composer’s tales of his artistic life, culled from probably a dozen interviews, are completely fascinating.
Boston Strangler centers on women journalists who are devalued and must hold their own, demanding safety and justice in a society that doesn’t always deem them worthy of protection.
While by no means the headiest permutation of commedia dell’arte, Shakespeare & Company’s production of THE VENETIAN TWINS is skillful as anything a commedia enthusiast might hope to see.
James Hamilton’s biography of British landscape painter John Constable is a highly accomplished, beautifully composed, revealing, and richly entertaining work of scholarship.
“The music I really respond to is by artists who have in some way captured a moment in an evocative way, a universal truth, something that feels honest and real. That’s what we try to do.”
Okada’s play reflects how skepticism has become the default stance for young adults shellshocked by post-recession economic restructuring.
Oh He Dead’s new album carries a unified punch as it interweaves meditations on dark subjects: mortality, polarization, and how life isn’t always sunshine and rainbows.
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