As noted by Director Mobley, the purpose of the Every Voice series is to recognize and shed positive light on diversity within the community. This year, the focus is on the LGBTQIA+ community, the Latinx community, as well as veterans and victims of wars. The music for every community presents a kaleidoscope of styles that highlights the past and the present of each group.
As a celebration of the 200th anniversary of Charles Gounod’s birth, the Odyssey Opera presents this opéra-comique while also preserving original text from Molière’s play. Sung in French paired with English subtitles, the opera features never-before heard recitatives by Erik Satie.
A green furry man attempts to exorcise his loneliness by picking on villagers. After he carries out his big plan, the man learns the spirit of Christmas.
MTA’s performance of The Chalk Cycle was a driving, emotional spectacle. The triple-threat cast — which could sing, dance and play violin — put on a brilliant show.
Unlike the other items at Clover that celebrate plants in their natural form, the Impossible Meatball Sandwich turns the inconceivable to reality. The meatball is made using something called Impossible Meat, a vegan meat substitute.
This production of Measure for Measure, put on by Cheek by Jowl in collaboration with Moscow’s Pushkin Theater, has a hypnotic grace that will keep you transfixed throughout, whether you speak Russian or not (don’t worry, there are English surtitles).
Set in the world of the 1970s automobile industry and taking influences from 1970s television, The Low Road has an undeniable charm to it, from the groovy, head-bobbing soundtrack (courtesy of Eric Cheng) to the character design. The witty dialogue between characters also works well in setting a good first impression, leading players to quickly understand the nuanced personalities of every character introduced throughout the game.
If you’ve never seen the Isabella Stewart Gardner Museum’s Calderwood Hall before, picture the Colosseum, compact, with red plush seats, hardwood floors, and glass banisters. In the middle, instead of warring gladiators, sits a concert grand piano and the band (The AB’s) awaiting the performers of the night.
The trailer is more brilliant than the film itself, where dramatic snippets against foot-stomping Queen songs promise everything you could ever hope for. This is a film made by and for Queen fans, created with so much love for Freddie Mercury that it disguises the film’s less than stellar foundation.
Just getting cozy and enjoying the show was literally impossible — whenever the music slowed, rolling like gentle waves, a thundering uproar from the lower registers would jar you back to the moment. The dynamic range of the orchestra was frankly very impressive. Kresge seemed to vibrate, literally, with the energy on the stage.