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The Whole World focuses on the incoherence that lurks underneath the empowering narratives we tell about ourselves.
Pianist Kirill Gerstein’s take on Busoni is exhilarating; the Finnish Radio Symphony Orchestra serves the forceful music of composer Bernd Alois Zimmermann, and violinist Elina Vähälä does right by Szymanowski’s Violin Concerto.
We desperately need plays and musicals — produced by local companies with courage and nerve — that acknowledge that the cancer of autocracy is here, today, and becoming stronger. That is the demand — will any answer the call?
This documentary about John Coltrane serves up skillful, sensitive storytelling and an appropriate sense of reverence.
Joe Strummer is clearly having a ball that night, in fine form: cracking jokes and proudly announcing his bandmates.
The actors in the central roles are extremely fine, particularly Kathleen McElfresh’s beautifully nuanced performance as the anguished Bridget O’Sullivan.
While luminary thespians and film stars such as Brian Dennehy and Christopher Plummer have trod the Stratford Festival boards, let me sing the praises of two actresses: Martha Henry and Michelle Giroux.
Exuberant is the right word for A.B. Yehoshua’s new novel, not only because of the story’s pile up of characters and events, but also for its prose.
The strategic silences in the Boston Globe’s piece on the legacy of Israel Horovitz are disturbing.
Arts Commentary: The 2022 Academy Awards — “Timmy, Don’t Hit Your Sister”
Aside from the multiple awards Dune won for technological brilliance, the 94th Academy Awards was a very different sort of “Hooray for Hollywood.”
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