What is the inescapable draw of The Killers? This question became especially confounding as the night went on and The Killers seemed more and more determined to keep their performance devoid of meaning.
Present and past icons became larger than life and joined her in song onscreen. Jackson herself—a new mother at 50 whose pregnancy halted her “Unbreakable” album tour in 2016—came back dancing with the full force of her sexuality. Decades of art forms, and human flesh collided at high speed.
Between Cardi B’s pregnancy, the Friday rain debacle, and Lil Wayne’s last-minute no-show, cancellation threatened to be the theme of the festival. Instead, thanks to some of the remaining acts on Sunday, the more important trend of the day was inventive instrumentation.
Simultaneously a mutter and sing-song, strained and explosive, electronic and a return to a guitar-driven rock core, “Hail to the Thief” embodies the frustration and defeat of a bruised animal throwing itself against the bars of a cage—“hysterical and useless,” to quote the band’s earlier work.
An openness to more of the book’s awkwardness, humor, and pain would have helped to remind viewers why, for 56 years, readers have accompanied L’Engle’s misfit characters on their mind-boggling journey through space and time.
"No matter what you end up doing in your life, if you have a strong grounding in literature, it will serve you throughout the rest of your life. I think that for all of us, when we think about fiction or novels, there are so many that have made such a deep impression on our lives."
José Mateo Ballet Theatre’s October series, “Assault on the Senses,” is not as bone-rattling as the title would suggest, but the three ballets included are both haunting and illuminated with moments of passion.
From the juncture between “Seeking Stillness” and its neighboring exhibition “Mark Rothko: Reflection,” Jonas’s installation is also within view; Saywell recommended that viewers stand in this spot to take in painting, sculpture, and video stemming from nature.