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Pick up the phone. Someone is on the line. You don t know their name, and you still won t when the hour is over, but through this exchange - as you follow a thread of automated prompts - a portrait of your partner will emerge through fleeting moments of exposure. A THOUSAND WAYS takes a simple premise and turns it into magic (The New Yorker).
Under the Radar is thrilled to present A THOUSAND WAYS (PART ONE): A PHONE CALL, the first of an eventual three-part series by Obie Award-winning theatermakers, 600 HIGHWAYMEN, known for exhilarating performances that challenge the very definition of theater.
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By Mark Feeney Globe Staff,Updated December 30, 2020, 2:02 p.m.
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Carrie Mae Weems, While Sitting Upon the Ruins of Your Remains, I Pondered the Course of History (2016-17), from To Make Their Own Way in the World: The Enduring Legacy of the Zealy Daguerreotypes (Aperture/Peabody Museum Press, 2020).Courtesy the artist and Jack Shainman Gallery, New York
The course of history didnât change in 1839, with the invention of photography. What did change was our collective relationship to history. Camera-captured images altered the publicâs understanding of events â or, at the very least, made it harder to ignore them. The novelist Wright Morris, who was also a very good photographer, once asked a deeply provocative question: If there had been someone with a camera when Christ arrived at Golgotha, how would that have changed our understanding of events on that particular hill on that particular d
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Watch a historymaking male pas de deux or support Democrats with a music festival in our editor-selected picks
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STAGE
A Christmas Carol: A Ghost Story of Christmas
Any other year, theatergoers could seek out almost as many different staged versions of Charles Dickens’ classic Christmas tale around town as there are official days in the holiday. During the pandemic, however, the most notable local production available for streaming is the unique one-man
tour de force that has been a popular draw at Maryland’s Olney Theatre Company for 11 years.
In fact, Olney held out hope until just last month that they could offer safe, reduced-capacity live performances of Paul Morella’s
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