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Throughout the musical, dark concepts are embellished with buoyancy, creating an ambivalent message that calls upon audiences to think about these issues with added perspective.
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As Sea Shepherd first mate Jack Hutton explains, “To anyone who says one person cannot make a difference, 30 people here have saved thousands of lives.”
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The sting of the guitars throughout the song is carefully juxtaposed against the softness in the vocals, the grooving bass line balancing the two.
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As a romance, it’s putrid. As a morality play, it’s indecipherable. Even as a best-of collection, it’s unimaginatively curated.
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There is an imbalance of moods that holds comedic authority in the brighter, more ridiculous segments, yet the movie loses its grasp when latched onto the macabre elements of the film’s development.
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It’s Hometowns week here in the Bachelorette-verse! Which means two things: It is time to silently judge the contestants’ families and Luke P. has been here for 8 weeks too long.
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If I could somehow insert a heavy sigh here, I would, because it amazes me how intolerant we still are — it is 2019 and we can’t seem to accept a Black Ariel without it being controversial.
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For Wang, truth in “The Farewell” has more intimate ties to replicating a specific sense of experience than to portraying exactly what happened when.
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Largely captured in wide-angle shots, the film effectively interrogates the totalizing, moralistic question “Is lying permissible?” by treating it as a microcosm of cultural principles.
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San Francisco Playhouse’s cast brings unique individual nuance to the already iconic and unbeatable music and choreography of “Cabaret.”
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