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One of the best things about the 40-minute selection from “The Lamb Lies Down on Broadway” that stood at the center of guitarist Steve Hackett’s near-three-hour show was its focus on the music without visual bolstering.
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The script focuses on the internal struggles that made Eleanor Roosevelt an uncomfortable wife, rather than taking a deeper dive into the moral and progressive vision that made her such an admirable first lady.
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If there ever was anyone to handle Hayim Nahman Bialik’s broad, impressive, and impressionistic craft with the acute passion, it is scholar and poet Peter Cole.
Read More“New York Times” Book Critic Dwight Garner makes salient points about the need for incisive criticism, claiming that too much happy talk denies common sense and undercuts credibility. But the ‘gonzo’ masterwork “Fire the Bastards!” hammers the point home much more memorably.
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Terri Lyne Carrington, on her home turf (she’s a native Bostonian and holds several positions at Berklee, including being founder and artistic director of the Berklee Institute of Jazz and Gender Justice), augmented her six-piece band with three guests.
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“Father Mother Sister Brother” invites you into a space of present-ness where you need to slow down and re-set your metabolism. It invites you to tune out all the noise and sit with the silences between people. A daring ask in a digital world where everyone’s glued to their screens the better to pick up the noise.
Read MoreThe October highlight for Underground Music is the Homegrown Festival. The 3-day gathering runs on the weekend of October 14 and features a lot of local and national acts.
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Stephen Sondheim’s songs told stories about people just trying to be, sung by characters struggling to make sense of a confusing world, yearning to take the next step. But his intricately structured melodies soared and tiptoed and sauntered and sometimes wisely took the long way home.
Read MoreAmerican Horror Story: Asylum didn’t skimp on the scary; there’s enough disturbing images per episode to satisfy the most discriminating taste in horror.
Read MoreHarold Pinter’s language can be enigmatic and deliberately bizarre, but it suggests arcs of passion and desire.
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