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Saturday’s finale of a two-night Roadrunner stand, the Dresden Dolls’ first Boston shows since 2017, raged as a celebration of camaraderie and catharsis.
What Lana Del Rey lost in time at Fenway she tried to make up for with the slew of guests she brought on stage.
Given the power, glory, and fun the Boston Babydolls supply with their burlesque routines — pasties and nipple tassels whirl with furious aplomb — the lack of spooky payoff in “The Wrathskellar” amounts to a minor drawback.
But this is an American musical, so political content (and blame for the way things are) must be kept fuzzy, a strategically-calculated myopia.
While the push for diversity in casting is admirable, it’s not enough to resuscitate a script that feels dated, even regressive in its approach to historical storytelling.
It is pretty clear that this Canadian band was not in the right place at the right time, despite the ferocious energy and speed of its music and sublime performances.
Why does John Merrick get a room in the London Hospital for the rest of his life? Because he’s charming and he’s witty, while the pinheads next door to him didn’t fare that well.
“Theater producers do not want to make their audience members uncomfortable and talking about race makes folks uncomfortable.”
Could it be that Erich Wolfgang Korngold’s Symphony in F-sharp is the big kahuna of our symphonic music?
A pair of recent books help keep the glorious spirit of Carnival alive.
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