Posts Tagged ‘mostly mozart’

Fearless Predictions

July 10, 2012

Codebreaker—Alan Turing’s Life and Legacy (through July 31, Science Museum, London): Mathematician Alan Turing was long neglected, even unknown, except among computer-science students and other digerati (novelist William Gibson included a Turing police force in his 1984 novel, Neuromancer). Turing is no longer unknown. His World War II contributions to cracking Axis codes at Bletchley Park became celebrated as details were declassified. The test that bears his name, a way of judging whether a machine displays human-like intelligence, is now familiar, and even his more abstract work is better recognized, as in the recent book Turing’s Cathedral.To observe the 100th anniversary of his birth, London’s Science Museum has assembled an exhibition combining personal notes with artifacts from his career. museum

Far from Heaven (July 19–29, Williamstown Theatre Festival): Musical adaptations may be the riskiest of artistic endeavors (ditto as financial investments). With an original show, no one can say it compares badly to its source, whereas an adaptation has to measure up to it,as well as to provide fresh depth or perspective. Yet hope springs eternal. In this new show, the 2002 film, written and directed by Todd Haynes (as a smart and lovely rejuvenation of 50s melodramas à la Douglas Sirk), is being adapted by Richard Greenberg (book), Scott Frankel (music), and Michael Korie (lyrics). All three have done good work before: Greenberg in a number of plays, Frankel and Korie in the songs for Grey Gardens. But reputation counts for nothing once the curtain rises—what will matter is whether this show works. schedule

Dido and Aeneas (August 22–25, Mark Morris Dance Group, Mostly Mozart Festival): Choreographer Mark Morris is not only highly musical and very inventive in his movement choices but also one of the greatest classicists since George Balanchine, frequently employing the genre’s virtues of balance, proportion, and symmetry. In Dido and Aeneas (1989), he crafted a stylized, moving dance-drama set to Purcell’s opera, with the singers and musicians in the pit. The vocalists include Stephanie Blythe; Morris himself, once unmatched in the dance role of Dido, has now retreated to the pit to conduct. Tickets are limited, so act fast.    —JEB

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