THEATER REVIEW Lose Your Head At ‘The Mikado’
The Gilbert and Sullivan Players’ production of T<i>he Mikado</i> opened last Friday, and it illustrates a few points. First, the Victorian England of Gilbert and Sullivan probably had a very bizarre perception of 19th century Japan, after seeing this show if not before, and second, G&SP seem to be at the top of their game when dressed in kimonos.
Re-Learning the New. The Emerson String Quartet Performs works by Ives, Janáček, Barber and Shostakovich
Twentieth century music is generally associated with atonality and avant-garde experimentation; this is not necessarily an untrue association, and many of Friday evening’s composers are specially known for their forays into these movements. The music is not without its own narrative, its own tonal lexicon and rationale that somehow culminates in a cohesive thesis. All of Friday evening’s music was older than fifty years old, and it was striking to hear how much of this music has been adapted in to the collective idiom in the twenty-first century.
BALLET REVIEW Boston Ballet’s Nutcracker Sparkles
Choreographed by Mikko Nissinen, the Boston Ballet’s rendition of this classic hits all the familiar, comforting notes, while also including a few cheeky details to keep things interesting for perennial attendees. In an effort to trim the show to under two hours (a smart move, considering the number of children both in the corps and in the audience), the action proceeded with a frenetic pace. Act I opens with a Christmas Eve party at the Silberhaus home. Clara’s magical godfather Drosselmeier arrives at the party bearing animated gifts, including a dancing bear unique to the Boston production. (As a figure skating Chewbacca once told me following a performance of Star Wars on Ice, “It is not easy to twirl in a big fur suit.”) Each of his gifts performs a small, cleverly arranged sequence that helps you understand what Toy Story would be like if it were ever adapted for ballet.
MOVIE REVIEW ★★ / 4 Out of the Mouths of Babes
I have to preface this review of <i>Brothers</i>, which is based on the Danish film <i>Brødre</i>, with a remark. I’m not a fan of musical manipulation in movies. Overly sappy instrumental music always struck me as unoriginal, as if the director wanted to cover up poor direction or poor acting.
OPERA REVIEW ‘Le Nozze di Figaro’
During Thanksgiving weekend, The Metropolitan Opera staged a rousing revival of Mozart’s great comic opera, “The Marriage of Figaro,” that was characterized by uncanny comic timing and keen acting. It wasn’t without a few weaknesses, however, which became apparent when the musical performance failed to match the acting in energy.
MOVIE REVIEW ★★ ½ A 3D Christmas Carol
Robert Zemeckis (<i>The Polar Express</i>, <i>Beowulf</i>) has made yet another film using 3D performance capture technology, with his latest piece of work, <i>A Christmas Carol</i>. Jim Carrey plays Ebenezer Scrooge in this digitally animated take on the classic Christmas story.
CONCERT REVIEW Doomsday in Paradise
A New York City native leading a New Orleans-inspired funeral dirge, playing from the Sacred Harp and preaching doomsday at the hipster infested Paradise Club. Discombobulating? Circuitous? Consider it just another detour on the remarkable career of Elvis Perkins and his band Dearland.
OPERA REVIEW Love and Loss in Arcadia
Of the fifteen books of Ovid’s <i>Metamorphoses</i>, the story of Acis and Galatea occupies less than two hundred lines of a single book: the mortal Acis and the nymph Galatea are in love, but the cyclops Polyphemus (yes, that Polyphemus, the one from the <i>Odyssey</i>; he, like most everything else, also has a back-story) is in love with Galatea too. As these things go, Galatea rebukes him and Polyphemus, understandably upset, expresses his rage in the only way he knows how: he crushes Acis with a boulder. Ovid completes the metamorphic tale on a light note, where Galatea, in her grief, immortalizes her lover by turning him into a river. The story, the plot all imitate dozens of others in the work, enough so that it seems like this one was another in a series of filler material Ovid had prepared to pad his tome.
CD REVIEW Digital Primitives: Playing ‘Out’ with a Compass
The world of free jazz can be a harsh place, a radical, norm-destroying battleground, with the players, in their attempt to create something original, spending a lot of time focusing on tearing down the old. All that chopping and carving and shaping can turn a collaboration into a pile of dust if you aren’t careful. The solution: focus on the basics.
CONCERT REVIEW Sonic Youth’s Relentless Rocking
Sixteen albums and twenty-seven years after the release of their first, self-titled studio album in 1982, Sonic Youth has made a career of wowing crowds all over the world in the promotion of their newest work. Last Sunday, Sonic Youth rocked the older crowd at Boston’s strangely arranged Wilbur Theater out of its argyle socks, and proved that having appeared in a tour video named <i>1991: The Year Punk Broke</i> does not prevent a band from contemporary greatness.
CONCERT REVIEW Falling Out of Love, Italian Style
Far more than being in love, falling out of love seems to be a popular topic of music. Various iterations of the break-up song have been written for nearly two thousand years and set to music for a far shorter time, never more cleverly and expressively than the Italian masters nearly five hundred years ago. The MIT Chamber Chorus provided a glimpse into the panoply of techniques and expositions of these musicians.
MOVIE REVIEW ★★ ½ / 4 After End of Time, Father and Son Follow ‘The Road’
Scrawled in spray paint, “Behold … the Valley of Slaughter” serves as an ominous warning before the director lowers his lens into the desolation of bleak hopelessness and human depravity. <i>The Road</i>, based on the Pulitzer Prize-winning novel of the same name written by Cormac McCarthy (<i>No Country for Old Men</i>), focuses on an unnamed father (played by Viggo Mortensen) and his son (played by Kodi Smit-McPhee) as they struggle for survival after a previous cataclysmic event wipes out most of the life on Earth. Those remaining must scrounge around for supplies as they encounter impending perils, such as dwindling health, the unforgiving elements, and cannibals. The father is driven to lead the pair to the coast, hoping there will be other “good people” like them.
MOVIE REVIEW ★★★ ½ / 4 ‘Red Cliff’ — An Epic of Chinese Philosophy
Blockbusters these days run on one platform. There are heroes and villains, honesty and deceit, escalating action and affection, and a grand purpose at stake. Flashback to the summer of 2008: America’s box-office triumph <i>The Dark Knight</i> was China’s record-breaking <i>Red Cliff</i>. The Joker could be Cao Cao, the power-hungry chancellor war-mongering in an otherwise content land. Batman and Harvey Dent could be Zhou Yu and Liu Bei, the morally righteous leaders trying to stop Cao Cao. The characters trick and threaten, manipulate romance, and the fate of Gotham City translates into the fate of the Chinese Kingdoms. There is really no point in concealing the ending: in either film, you learn that there is no winner or loser, but only a volatile society and uncertain peace. You might ask, then, what’s the point? No doubt, <i>Red Cliff</i> delivers the same edge-of-your-seat gutsy thrill and suspense <i>The Dark Knight</i> does, but this film’s unique value comes from its insight into a lasting Chinese school of culture and philosophy.
MOVIE REVIEW ★★★ ‘Precious’ Will Leave You Speechless
Emotionally, physically, and sexually abused by both her mother and father, Clareece “Precious” Jones is born into a life that no one would ever want to be born into. As the terribly child-like and misspelled opening credits scrawl across the screen, it’s difficult not to gasp at the horror of her illiteracy. “Who let this happen?” you ask. “Who could possibly be so heartless?”
MOVIE REVIEW ★★ ½ Werewolves, Vampires, and Love Triangles, Oh My!
The Twilight scene is a cult. This is a fact. Granted, about 95 percent of the cult is female, so perhaps a “far-reaching fanbase” would be a more appropriate description. According to my friend, who did a headcount, out of the 196 viewers in my theater, there were only 12 male audience members.
CONCERT REVIEW BSO Presents Saint-Saëns and Stravinsky
An anxious group exited the Symphony T stop at the Green Line, bee lining to the greeters at the door of Symphony Hall. Exactly at 8:03 p.m., the symphony finished tuning and welcomed the rushed audience with a sweet poem: “Pastorale d’été,” a symphonic poem by Arthur Honegger. Honnegger’s style in “Pastorale d’été,” generally associated with the 1920s avant-garde, contrasts with his peers’ — coined the “Groupe des Six” — in that Honegger believed that the new era of music resulted from transitioning from the traditional, as opposed to cleanly breaking away. He embraced the value in balance and virtue, which is exhibited in “Pastorale d’été.” One flute, an oboe, a clarinet, a bassoon, a horn, and strings create a lyrical song of a pleasant summer day in the fields.
MOVIE REVIEW ★★★ A Cataclysmic Production Devoid of Emotion
It is the year 2012. The end of the world as we know is fast approaching. Due to a rare planetary alignment, an unprecedented solar flare is heating up the Earth’s core to the point that the crust will destabilize. The ensuing seismic and volcanic activity followed by gigantic tsunamis are bound to wipe out all life from Earth. There is no way to stop the cataclysm. But there may be a way to weather it out. Or is there?
CONCERT REVIEW Grab Your Studded Belts, Kids…
Have you ever seen an eight-year-old child headbanging? Ever had a bearded, screaming stranger claim that he could be your own personal therapist? Ever seen an eleven-year-old wearing a shirt declaring that “The All-American Rejects Are Really Good Looking”? If so, you probably need professional help, but you might also have attended Taking Back Sunday and the All-American Rejects’ concert at the intimate Showcase Live last week.