Richard Nelson
Each of these four projects requires deep attention from a listener. Only two of them repay that attention with the musical rewards that bring a listener (this listener, at least) back for rehearings.
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Composer/guitarist Richard Nelson’s followers can count on being surprised at how nimbly he can satisfy their appetites.
Read MoreRichard Nelson’s family members talk to each other, not to us. We are privileged to be permitted to listen in.
Read Moretrumpeter–composer Mark Harvey’s imaginative conducting made the pieces work together in fascinating ways.
Read MoreRichard Nelson does not compel us to pay attention to his characters’ psychological disclosures, and his reluctance to underline is refreshing.
Read MoreIn 1939, Clifford Odets wrote that ‘we are living at a time when new art works should shoot bullets.” Fat chance of any shots coming from our voluntarily disarmed theaters.
Read MoreDramatist Richard Nelson’s language is plain poetry, which passes as prose. It is conversation, as another poet hymned, transmogrified.
Read MoreA 19th-century Russian masterpiece presented in a translation and a production whose mishmash of style distorts the play and confuses both actors and audiences.
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Theater Commentary/Review: A Not So Dumb “Month in The Country”
Given the Russian writer’s modernist pedigree, should director/playwright Richard Nelson and translators Richard Pevear and Larissa Volokhonsky be punished for putting some “unevenesses” into their staging of Turgenev’s finest play, “A Month in the Country”? I think not.
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