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October '22 Digital Week I

Details: Parent Category: Film and the Arts; Category: Reviews; Published on Wednesday, 12 October 2022 13:55; Written by Kevin Filipski

Blu-ray Releases of the Week

Sex and Lucia

(Music Box Films)

Spanish director Julio Medem’s overtly symbolic and surreal films dive headlong into physical and emotional relationships, and his 2001 feature—which follows the title heroine navigating a world of intense love, heartbreaking sorrow and sexual pleasure—is, along with his preceding Lovers of the Arctic Circle, his most erotic expression of his own type of romantic melodrama.

Anchoring the two-hour, slightly overlong and repetitious film is Paz Vega, unforgettably vivacious as the charming young woman at its center. The film looks fine on Blu; extras are vintage interviews and on-set featurette along with a new video essay.

Dexter/Dexter: New Blood—The Complete Series

(CBS/Paramount)

Television’s most complicated serial killer drama, Dexter, which drew to a close in 2013 after its eighth season, returned with a reboot/sequel of sorts, Dexter: New Blood, in which everyone’s favorite murderer settles in a small New York State town.

Both the original and the reboot have skimpy plotting and motivation, but the performances help hide the flaws, led by Michael C. Hall’s conflicted antihero and the always winning Jennifer Carpenter as his beloved sister. This massive boxed set contains all 106 episodes of both series, and the hi-def images look terrific.

Star Trek: Picard—Complete 2nd Season

(CBS/Paramount)

In the second season of the latest Star Trek series about the now-retired Admiral Jean-Luc Picard from Star Trek—The Next Generation, Patrick Stewart gives his usual imposing performance as the former leader who must deal with both his fraility as he ages and the future of the universe.

The time-travel aspect—Picard has been injected into an alternate reality, set in Los Angeles in 2024—is cleverly done and there’s a welcome weight toward character study rather than action, but at times during the season’s 10 episodes, the stories move a bit too slowly. There’s a first-rate hi-def transfer; extras include featurettes, deleted scenes and a gag reel.

4K Releases of the Week

Night of the Living Dead

(Criterion)

George Romero’s frightening 1968 debut is still the greatest zombie movie, and what’s amazing fifty-four years later is how relevant it still is as an indictment of American society literally tearing itself apart; its grainy look and shoestring budget makes it even scarier than far more gory films, like Romero’s own sequels.

The Criterion Collection’s excellent new release features the film in glorious UHD, where the black and white visuals are more vivid than ever, along with two Blu-rays containing the film and many extras, including commentaries, dailies, vintage and more recent featurettes and interviews and even a workprint cut of the film, Night of Anubis.

DC League of Superpets

(Warner Bros)

In this supremely entertaining animated feature, Superman’s own superdog, Krypto, joins forces with a motley crew of animals from the shelter whose own new superpowers are still uncontrollable as they attempt to rescue the entire Justice League.

A super voice cast, led by Dwyane Johnson, Kate McKinnon, Kevin Hart, Vanessa Bayer and Natasha Lyonne, and imaginative touches from director Jared Stern and his crack animation team make this fun for the whole family. The film bright colors look eye-poppingly good in UHD; the accompanying Blu-ray disc includes several featurettes, interviews and deleted scenes.

In-Theater/Streaming Releases of the Week

Battleground

(Abramorama)

This enraging documentary is mainly an evenhanded exploration of both asides of the abortion debate, but director Cynthia Lowen shows the anti-choice forces in far more depth, as the women leaders of several anti-choice organizations are seen as ragingly hypocritical, making the most ridiculous defenses of their positions time and time again, but that’s the unfortunate effect of the “one-issue” dogma.

The worst offender may be Marjorie Dannenfelser, head of the ironically named Susan B. Anthony List, who twists herself into a pretzel defending Donald Trump even after the January 6 attempted insurrection. Why Lowen sees fit to give her the last word is mindboggling.

Dead for a Dollar

(Quiver Distribution)

Veteran Walter Hill returns with a spry if familiar western whose narrative twists—the woman who runs away from her rich husband is given her own agency, from living with her Black lover to wielding a gun of her own—make this satisfying enough. Hill’s an old pro at violent encounters, which are craftily handled, even if the ending is a disappointing shoot-’em-up.

Still, it’s forcefully acted by Rachel Brosnahan as the woman, Christoph Waltz as a bounty hunter (far better—and much less hammy—than in his two Oscar-winning portrayals for Quentin Tarantino) and Willem Dafoe as a feisty outlaw.

Hinterland

(Film Movement)

For his first film in 15 years, Austrian director Stefan Ruzowitzky has made a strange, puzzling but compelling murder mystery reminiscent of the expressionistic classic M and The Cabinet of Dr. Caligari that was shot on soundstages with green screens, giving the whole film an intentionally disorienting look and feel matching the point of view of Peter, the protagonist (played at a fever-pitch by Murathan Muslu).

There’s something amiss in the actual story and accompanying romance, which remain secondary to the onscreen stylishness, but Liv Lisa Fries as Theresa, a forensic doctor Peter falls for, provides the film with a detectable beating heart.

Some Like It Rare

(Brainstorm Media)

The clever if blunt English title pretty much sums up the juvenile humor in this one-note black comedy about a butcher and his wife who, after accidentally discovering that the meat of vegans (cue hilarity!) is especially tasty, become serial killers to keep their stock of what they call “Iranian pork” for their satisfied customers.

Writer-director Fabrice Éboué, who stars as the butcher, acts better than he directs or writes, but he did have the good sense to cast the great Marina Foïs as his wife: she brings intelligence and subtlety to a part and a subject that don’t call for it, making it all seem more daring and funny than it is.

CD Releases of the Week

Ludwig van Beethoven—Complete Piano Concertos

(BIS)

In a crowded pool of complete Beethoven piano concerto recordings, young Chinese pianist Haochen Zhang makes an impressive splash with his traversal of one of the most imposing cycles in the entire repertoire.

With French conductor Nathalie Stutzmann leading the Philadelphia Orchestra, Zhang deftly handles Beethoven’s fiendish runs and cadenzas throughout these five imposing works. Most memorable are the 3rd and 4th concertos, which have the most balance between urgency and delicacy. Only the fifth concerto, the towering “Emperor,” feels less than fully-formed in this performance.

George Walker—Orchestral Works

(Cleveland Orchestra)

Throughout an extraordinary career that ended with his death four years ago at age 96, American composer George Walker kept to his path, composing works ranging from solo pieces to orchestral works, the latter being the focus of this wide-ranging survey courtesy by the excellent Cleveland Orchestra and its music director, Franz Welser-Möst. Walker is best known for his lovely and evocative Lyric for Strings, which has taken on a new life recently, but the works included here are equally passionate.

Antiphonys (1968) mirrors the chaotic rumblings of its era through percussion-driven rhythms, while the 1995 Pulitzer Prize-winning vocal work Lilacs sets fragments of Walt Whitman’s famous eulogy for Abraham Lincoln to emotionally direct music. Rounding out this laudable recording are precise performances of Walker’s 4th and 5th sinfonias. As usual for Cleveland, the recording is housed in a deluxe album including a 44-page booklet with informative and contextualizing essays.

Opening Night Gala at Carnegie Hall

Details: Parent Category: Film and the Arts; Category: Reviews; Published on Tuesday, 04 October 2022 21:54; Written by Jack Angstreich

Pianist Daniil Trifonov and Conductor Yannick Nézet-Séguin. Photo by Chris Lee

On the evening of Thursday, September 29th, I had the privilege to attend Carnegie Hall’s magnificent Opening Night Gala concert with the superb musicians of the Philadelphia Orchestra under the outstanding direction of Yannick Nézet-Séguin.

The event began marvelously, with an exhilarating version of Maurice Ravel’s astonishing La Valse, which was notable for the conductor’s mastery in eliciting the remarkable diversity of moods in the work. Christopher H. Gibbs, in his excellent program note, provides some very interesting background:

Maurice Ravel composed La valse in the wake of the First World War, after a period of military service, poor health, compositional inactivity, and the death of his beloved mother. Ideas for the work dated back to 1906, when he initially planned to call it Wien (Vienna), an homage to the music of the “Waltz King,” Johann Strauss II.

In 1919, the great impresario Sergei Diaghilev, for whom he had composed Daphnis et Chloé (1909–1912), expressed interest in a new piece for his legendary Ballets Russes. Ravel played through La valse for him in a keyboard version. Igor Stravinsky and Francis Poulenc were present and, according to the latter, Diaghilev responded, “Ravel, it is a masterpiece … but it’s not a ballet. It’s a portrait of a ballet … a painting of a ballet.” The composer was deeply offended, and the incident caused a permanent breach.

As with some of his earlier orchestral works, Ravel composed versions of La Valse for solo piano as well as for two pianos. In October 1920, together with Italian composer Alfredo Casella, Ravel presented the premiere of the work in the two-piano version in Vienna at a special concert given by Arnold Schoenberg’s Society for Private Musical Performances. The first orchestral performance took place in Paris seven weeks later. As a work originally planned as a ballet, and that carries the subtitle “choreographic poem,” Ravel was eager to have it staged, especially after Diaghilev’s rejection. The first choreographed version was presented in Antwerp with the Royal Flemish Ballet in 1926, and two years later Ida Rubinstein danced it in Paris. Noted choreographers, including George Balanchine and Frederick Ashton, have used the music as well.

In an autobiographical sketch Ravel stated what he had in mind when he wrote La valse: “Eddying clouds allow glimpses of waltzing couples. The clouds gradually disperse, revealing a vast hall filled with a whirling throng. The scene grows progressively brighter. The light of chandeliers blazes out: an imperial court around 1855.” Elsewhere he remarked that he “conceived this work as a sort of apotheosis of the Viennese waltz, mingled with, in my mind, the impression of a fantastic, fatal whirling.” Others have heard the piece more as apocalypse than apotheosis, such as the distinguished historian Carl Schorske, who called it a celebration of “the destruction of the world of the waltz.”

The celebrated virtuoso, Daniil Trifonov, then entered the stage as soloist for a revelatory account of Franz Liszt’s engaging Piano Concerto No. 1–the most impressive realization of this piece I have yet heard. Gibbs and Paul J. Horsley, in another fine program note, comment as follows:

Liszt’s responsibilities in Weimar as conductor of the orchestra made continual demands for fresh orchestral music, and this must have prompted him to look back to his concerto sketches once again. Progress was slow. Having composed chiefly virtuosic solo piano music up to this time, he at first lacked confidence in writing for orchestra. Liszt employed the assistance of Joachim Raff (1822–1882), a composer and excellent orchestrator, with whose help he completed a first version of the E-flat–Major Concerto in 1849. Shortly after this he began composing a series of symphonic poems in which he quickly mastered a delicate but rich orchestral palette. With renewed confidence he revised the First Concerto again in 1853. The successful premiere took place in Weimar in February 1855, with the composer at the piano and no less than his friend Hector Berlioz conducting.

Despite the admiring reception accorded these two celebrated musicians at the first performance, the concerto faced a much less sympathetic response when heard in Vienna the following season. Eduard Hanslick, the powerful anti-Wagnerian critic, called the piece a “triangle concerto” because of the prominent role the instrument plays in the second half of the piece. His views were enough to banish the work from Vienna for some years to come.

Liszt defended what he had done in an amusing letter:

As regards the triangle, I do not deny that it may give offense, especially if it is struck too strongly and not precisely. A preconceived disinclination and objection to percussion instruments prevails, somewhat justified by the frequent misuse of them ... Of Berlioz, Wagner, and my humble self it is no wonder that ‘like is drawn to like,’ and, as we are all three treated as impotent canaille [rabble] among musicians, it is quite natural that we should be on good terms with the canaille among the instruments … In the face of the most wise proscription of the learned critics I shall, however, continue to employ instruments of percussion and think I shall yet win for them some effects little known.

The concerto is cast in several fluidly interwoven movements that are played in a seamlessly continuous gesture. Allegedly, Liszt fitted the loud opening motif (Allegro maestoso), scored for full strings to which the woodwinds and brass respond, with these humorous words: Das versteht ihr alle nicht, ha-ha! (This none of you understand, ha-ha!). Just after comes an extended virtuoso passage for the soloist; the first movement builds to a furious climax before giving way to a tranquil second movement (Quasi adagio), with a theme in low muted strings. Into this is interpolated an animated scherzo-like section (Allegro animato), as well as the infamous emergence of the triangle. The finale begins with a lively Allegro marziale animato and gradually draws the themes together into an organic synthesis.

In this concerto, one of his first large-scale orchestral compositions, Liszt tried to achieve the kind of unity he so admired in Schubert’s “Wanderer Fantasy.” As he remarked in a letter concerning the last movement, it “is only an urgent recapitulation of the earlier material with quickened, livelier rhythm, and it contains no new motifs, as will be clear to you from a glance through the score. This kind of binding together and rounding off a piece at its close is somewhat my own, but it is quite organic and justified from the standpoint of musical form.”

Enthusiastic applause was rewarded with a beautiful encore from the pianist: an exquisite reading of Johann Sebastian Bach’s exalting “Jesu, Joy of Man’s Desiring.”

Also felicitous was a confident presentation of the Carnegie Hall premiere of contemporary composer Gabriella Lena Frank’s pleasurable “Chasqui,” the fourth of a six-movement work titled, Leyendas: An Andean Walkabout, which, according to program annotator Luke Howard, was “composed as a string quartet in 2001 and then arranged for string orchestra in 2003.” He adds that “Chasqui refers to the chasqui runners of the Inca empire, agile and intelligent messenger-carriers who sprinted between towns separated by the high Andean peaks.” About the author of the work, he writes:

Frank studied composition at Rice University and earned her doctorate from the University of Michigan. She has received numerous commissions from leading ensembles that include The Cleveland Orchestra, the King’s Singers, Kronos Quartet, and Brentano Quartet, and has participated with cellist Yo-Yo Ma in his Silk Road Project. She was awarded a Guggenheim Fellowship in 2009, the same year she won a Latin Grammy Award. The following year she was named a United States Artist Fellow. Frank is currently composer-in-residence with The Philadelphia Orchestra, having previously served in that capacity with both the Detroit Symphony Orchestra and the Houston Symphony. Next month, San Diego Opera is scheduled to premiere her first opera, The Last Dream of Frida and Diego.

The evening concluded gloriously with a stunning—indeed a transformatively dynamic—reading of Antonín Dvořák’s gorgeous Symphony No. 8—this was the most extraordinary performance of this work that I have yet heard, one which emphasized its passionate, intense Romanticism. Gibbs provides a useful description:

The piece begins with a solemn and noble theme stated by clarinets, bassoons, horns, and cellos that will return at key moments in the movement (Allegro con brio). Without a change in tempo, this introductory section turns to the tonic major key as a solo flute presents the principal folk-like theme that the full orchestra soon joyously declaims. The Adagiois particularly pastoral and traverses many moods, from a passionate beginning to the sound of bird calls, the happy music making of village bands, and grandly triumphant passages.

While Dvořák often wrote fast scherzo-like third movements, this symphony offers a more leisurely Allegretto grazioso with a waltz character in G minor. In the middle is a rustic major-key trio featuring music that will return in an accelerated duple-meter version for the movement’s coda. Trumpets proclaim a festive fanfare to open the finale (Allegro ma non troppo), which then unfolds as a set of variations on a theme stated by the cellos. The theme looks back to the flute melody of the first movement and undergoes a variety of variations with wonderful effects along the way, including raucous trills from the French horns and virtuoso flute decorations.

At this concert, the opening Allegro con brio was stirring with almost Wagnerian passages. The Adagio was lovely and bucolic but also powerfully emotional at times. The Allegretto grazioso had a somber undertone with a lyrical middle section the music of which returned in the Coda in an exuberant mode. The finale built to a nearly extreme climax.

September '22 Digital Week III

Details: Parent Category: Film and the Arts; Category: Reviews; Published on Tuesday, 27 September 2022 19:59; Written by Kevin Filipski

In-Theater/Streaming Releases of the Week

The Good House

(Lionsgate/Roadside Attractions)

Not many actresses are as able to navigate the tricky, even treacherous emotional terrain of Hildy Good, an alcoholic real estate agent with a messy professional and personal life, as Sigourney Weaver, who explores every nuance—even finding some that probably didn’t exist in Maya Forbes and Wallace Wolodarsky’s direction or their and Thomas Bezucha’s script.

Weaver even makes the problematic bits (like directly addressing the camera) work like a charm; her winning presence makes this equally toughminded and soggy character study a bit of a must-see. She is joined by her long-ago (Dave and The Ice Storm) costar Kevin Kline, who like Weaver is unafraid to display physical and emotional nakedness onscreen.

The Enforcer

(Screen Media)

Despite Antonio Banderas’ best efforts, which are typically middling to begin with, Richard Hughes’ improbable drama about the brutal enforcer for the vicious head of the local underworld organization (Kate Bosworth, playing gleefully against type) who suddenly develops a conscience and tries rescuing a teenage girl from sexual exploitation—reminding him of his own young daughter—itself exploits its sexually charged scenario.

The blonde Bosworth, here in a black wig, is a hoot as the nasty crime boss, but little else here is very satisfying, unfortunately.

The Last Band on Stage

(Gravitas Ventures)

The Windy City’s own Joe Mantegna is the perfect narrator for this enjoyable trip through rock band Chicago’s storied history; director Peter Curtis Pardini focuses on the group’s fraught last couple of years after performing a final concert in Las Vegas before COVID shut everything down for more than a year.

We see Chicago’s members either adjusting or not to life at home, not making music, not being on the road, and how they eventually get back in physical and mental shape to perform: first on Zoom, then finally at a real concert venue in the Midwest in the summer of 2021.

Life Is Cheap…But Toilet Paper Is Expensive

(Arbelos Films)

In Wayne Wang’s disappointingly hit-or-miss black comedy, a man arrives in Hong Kong from san Francisco bearing a suitcase that gangsters have handcuffed to him so he won’t lose it before getting it to another mobster, all while assorted others swirl around him, displaying outlandish and antisocial behavior in explicit visualization of the tongue-in-cheek title.

Wang’s 1989 feature has its admirers, and it’s certainly a spirited effort, but it’s loose and ragged, only coming into focus occasionally through the excess violence and crude humor.

Railway Children

(Blue Fox Entertainment)

The original Railway Children, released in 1970, starred a then-teenage Jenny Agutter as one of the title kids: fast forward to 2022, and Agutter returns as the grandmother of a village family taking in city kids during the bombings of the UK in WWII.

Morgan Matthews’ sequel passes nicely enough; it’s too bad, though, that it mainly stays on the surface, rarely delving into the pathos involved for youngsters at such a fraught moment in their lives. Happily, the acting, led by Agutter and various young performers, is superb, which gives the dramatics more urgency.

Ten Tricks

(Cinedigm)

Richard Pagano’s silly but amusingly adult roundelay introduces a middle-aged madam hoping to have a baby and several of her workers—both female and male—who are dealing with their customers, both successfully and unsuccessfully.

Although an ungainly mix of smuttiness, alternatingly stilted and interesting dialogue and even an occasional insight, it gains a measure of stature from the performances, like the outstanding Brittany Ishibashi as one of the call girls and, as the madam, the touchingly vulnerable Lea Thompson—who, nearly four decades after her debut, remains an appealing presence onscreen.

4K/UHD/Blu-ray Release of the Week

The Lost Boys

(Warner Bros)

Joel Schumacher’s horror comedy about young vampires terrorizing the fictional California town of Santa Carla is drenched in the year 1987 (the summer it was released), as the guys and gals’ big hair, the synth-laden score and smattering of pop songs by the likes of INXS, Echo and the Bunnyman and Foreigner’s Lou Gramm threaten to overwhelm its genuine smarts and funny/icky vibe.

The cast is top-notch: Dianne Wiest, Edward Herrmann and Bernard Hughes as the elders complement the dynamic young cast of Keifer Sutherland, Jason Patric, the Coreys Haim and Feldman and Jami Gertz. The striking visuals look spectacular on UHD, which includes Schumacher’s commentary, while other extras—retrospective featurettes and interviews, deleted scenes, and Gramm’s video for his tune “Lost in the Shadows”—are on the Blu-ray disc.

Blu-ray Release of the Week

Leonard Bernstein Boxed Set

(C Major)

This five Blu-ray set contains several of Leonard Bernstein’s European concerts from the last years of his life (he died in 1990 at age 72)—the earliest is from 1976, of Hector Berlioz’s Symphonie fantastique, while the rest are from the ‘80s and early 1990, when he led the Vienna Philharmonic in Jean Sibelius’ seventh symphony.

These are typically idiosyncratic Bernstein performances, as he remains a whirlwind on the podium, even jumping up and down to punctuate the final notes of the Berlioz, but they’re all worth watching from at least an historical perspective. The fifth disc is a lovely tribute to the composer-conductor, Bernstein at 100, a 2018 concert at Tanglewood’s summer festival in western Massachusetts’ bucolic Berkshires, where the highlights are soprano Nadine Sierra as soloist in Bernstein’s “Kaddish” symphony and mezzo Isabel Leonard singing Maria in excerpts from his West Side Story score. There’s fine hi-def video and audio.

DVD Release of the Week

Pissarro—Father of Impressionism

(Seventh Art Productions)

Although not as well-known as other contemporaries such as Renoir and Monet, Camille Pissarro gets a lot of love in this 90-minute documentary about his life and art, as experts from the art world discuss and dissect his importance and legacy.

The film follows the straight line of others in the valuable Exhibition on Screen series through narration of his life and glimpses at his art as we hear about how he was thought of by his fellow Impressionists, who named him—unsurprisingly—“the father of impressionism.”

CD Release of the Week

Valentin Silvestrov—Requiem for Larissa

(BR Klassik)

84-year-old Valentin Silvestrov’s music earned added currency this year, as Ukraine’s most important living composer fled to Berlin with his daughter and granddaughter when Putin’s Russian forces invaded. But as this new recording of his very personal Requiem for Larissa demonstrates, it’s a work that will remain relevant for its shining excellence and gripping dramatics. Composed between 1997 and 1999, after the sudden death of Silvestrov’s beloved wife, Larissa, this Requiem is quite simply profoundly shattering to listen to.

Performed brilliantly by the Munich Radio Orchestra, Choir of the Bavarian Radio Symphony Orchestra, and soloists, all led by conductor Andres Mustonen, this large, formidable, slow-moving cycle of grief is given a greatly sympathetic airing.

Off-Broadway Play Review—“Remember This—The Lesson of Jan Karski” with David Strathairn

Details: Parent Category: Film and the Arts; Category: Reviews; Published on Tuesday, 20 September 2022 16:20; Written by Kevin Filipski

David Strathairn in Remember This—The Lesson of Jan Karski (Photo: Hollis King)

Remember This—The Lesson of Jan Karski

Written by Clark Young and Derek Goldman; directed by Derek Goldman

Performances through October 9, 2022

Theatre for a New Audience, 262 Ashland Place, Brooklyn, NY

tfana.org

Whatever its other merits, Remember This—The Lesson of Jan Karski is the most important show in New York right now. A monologue performed by actor David Strathairn, it’s a plea for truth amid the chaos of a fractured world, as much an indictment of today as of the inaction of western governments (notably Britain and the U.S.) during Hitler’s reign of terror.

It is also, not coincidentally, a way to keep memories alive of the millions who perished—another truth needed today, when polls say young people have little or no knowledge of the Holocaust. But it’s most heartening to report that the play is an impressively dramatic work, a riveting 90-minute monologue performed brilliantly by David Strathairn.

Written by Clark Young and Derek Goldman (who also directs), Remember This underlines its intentions in its very title. Jan Kozielewski was born in Łódź, Poland, in 1914. He was a soldier in the Polish army on September 1, 1939, when the German blitzkrieg began WWII; after his capture by the Red army, he was transferred to the Nazis in an exchange and soon escaped, becoming—now known as Jan Karski—a courier for the Polish resistance, going to occupied France and London and even the U.S., where he visited FDR in the Oval Office.

The Catholic Karski had a single message, from his own eyewitness testimony of seeing how Jews in the Warsaw Ghetto and a nearby concentration camp lived—and died. But would leaders like Churchill and Roosevelt listen to his message? They did—to a point. But Karski believed much more could have been done. Six million dead by the end of the war is damning evidence of a lack of Allied leaders’ urgency.

Out of this rich dramatic ore, director Goldman has fashioned a breathless but emotional 90-minute journey, given special zest by Zach Blaine’s magisterial and subtle lighting and Roc Lee’s haunting music and sound effects. On Misha Kachman’s spare set of a table and two chairs, however, it’s Strathairn who makes Remember This unforgettable. The 73-year-old actor gives a physically imposing performance that’s simply jaw-dropping to watch: stalking around the stage, jumping off the table, rolling around the floor, changing clothes almost as much as he changes his accents (he not only voices Karski but the other characters, from Nazis and Polish Jewish leaders to FDR himself).

Far from being merely technically demanding, Strathairn’s remarkable acting vividly embodies Karski’s incredible story, making Remember This must-see theater—and a moving memorial to a man whose life is a profound testament to human goodness.

Reviews

October '22 Digital Week I

Opening Night Gala at Carnegie Hall

September '22 Digital Week III

Off-Broadway Play Review—“Remember This—The Lesson of Jan Karski” with David Strathairn

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