The plot of Our Lady of 121st Street revolves around a mystery -- specifically, the missing cadaver of Sister Rose.
Georges (Daniel Auteuil) has been having nightmares -- rancid dreams of blood, a sickly boy and roosters from his childhood in 1950s France.
In the second act of The World's Wife, Eurydice, Orpheus' wife, issues an imperative to the audience. "Girls, forget what you've read.
From March 22-26, Charlottesville, Va. will become every bibliophile's dream. In its 12th year, the Virginia Festival of the Book will welcome hundreds of writers, publishers, and readers in a celebration of literacy, learning and the joy of reading. The festival, which drew a record attendance of 22,874 visitors last year, successfully lured guests from Charlottesville, greater Virginia, America and the world with its enticing lineup of writers. The 2005 Virginia Festival of the Book, which hailed revered authors such as David Baldacci, Jonathan Safran Foer and Valerie Tripp as well as late poet Robert Creeley, is a hard act to follow.
John Wilmot, 2nd Earl of Rochester, does not want you to like him -- or so he says in the opening lines of The Libertine.
Ping Chong's Truth and Beauty claims to hold a mirror to American society. Its reflection shows a disfigured culture weaned on violence and raised by sex with a daily dose of consumerism.
Those who are un-hip to the ways of Hedwig Robinson often wonder what that "inch" is and why it is so "angry." Live Arts' twist on the zany tale of the East German transsexual not only answers these questions but does justice to John Cameron Mitchell and Stephen Trask's cult film sensation. It would be an impressive feat to depart from this glitzy punk-rock musical without becoming an ally of Hedwig's -- or at least humming the tune "Origin of Love." The somewhat intimate setting of Live Arts' theatre proves a perfect place to learn the extremely intimate details of Hedwig's (formerly known as Hansel) life.
Despite landmark films such as Guess Who's Coming To Dinner and Jungle Fever, memorable cinematic interracial romances have been too few and far between.
In a Venetian convent, an Inquisition officer condemns a depraved nun to eternal damnation for one night with Casanova, the city's promiscuous paramour in residence. "Seems fair," the sister remarks to herself, shrugging. Much like the wayward nun, the viewer of Casanova indulges in a guilty pleasure: Despite the punishment of a predictable plot and occasional preachiness, the charming comedy and beguiling characters bewitch the senses and shroud the judgmental eye. The film's premises invite predictability.
In 1955, Memphis Sun Studio Recording producer Sam Phillips gave an earnest, young musician a piece of advice. "If you could sing one song, one song that would let God know how you felt about your time here on earth ... that's the kind of song that truly saves people." J.R.
