Annie Levin
The show, with its high production values and ever so abstract and high-minded Vedic metaphor, presents a nominally innovative performance that points at the avant garde but never quite ventures into challenging territory.
4 comments
It was as though they had released us from an enchantment and we all woke up giggling and surprisingly well rested.
Two experimental new works from thingNY explore decadence, quarantine, digestion, and lineage at The Exponential Festival.
PRISM Quartet teams up with Tyshawn Sorey, David Krakauer, and a host of some of the finest new music musicians and composers in the nation to create Generate Music: a musical exploration of the ties that bind together Black and Jewish Americans.
Peter Sellars’s rarely radical climate epic Shall We Gather at The River brought together a superb collection of musical talent for an unfortunately incoherent night of sacred song.
There was much to love in Andrew Ousley’s Tiergarten: a three-night cabaret revue from Death of Classical and part of Carnegie Hall’s Weimar Festival, performed in the vaulted gothic hall of the Church of St. Mary.
Culture at the Crossroads: Zlatne Uste Golden Festival lives on at Astoria World Manor
Émigré, unfortunately, fails to do justice, either musically or theatrically, to this group of refugees or to the Shanghainese who took them in.
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