Fringe rethinkings of William Inge and Tennessee Williams have fascinating, sometimes revelatory results.
Did Bard’s Festival raise our sense of the composer’s classical works? Yes and no.
The biggest problem here was sensory overload.
Although I saw this provocative production a month ago, I continue to think about it.
REVIEW: A Grandeur Night for Singing: Yannick Nézet-Séguin’s Zauberflöte Recording (for Parterre Box)
The maestro captures superbly this work’s complex mix of diverse elements.
For all of its winking loucheness, the show is utterly devoid of any real suggestion of sex.
A thrillingly full-throttle rarity, with much to celebrate in the fine singing here.
Within minutes, something wonderful happened, and none of my reservations mattered.
Cameron and David continue the conversation about what critics do and how they are perceived.
The gorgeous title characters in this self-consciously clever production are diminished from the start.