Despite the show’s darkness, “East 100th Street”‘s exploration of Harlem in the ’60s is in many ways a testament to the endurance of love.

The Lyric Stage Company of Boston’s production can’t quite get its arms around all of the varied elements in this exhilarating musical, but some terrific performances make up for other weaknesses.

The show was like topping a delicate wedge of artisanal cheese with a handful of artisanal trail mix. Both the Christian Science Plaza and the sculptures themselves are exquisite on their own, but together the experience felt disjointed and oddly incompatible.

The ebullient entertainer Maurice Hines held court this week at a packed Cutler Majestic Theater, along with a score of other very talented musicians and tap dancers. What an evening!

The influence of two centuries of dandies on fashion — and the artful, strategic, ready-for-the-paparazzi self-presentation at the heart of modern celebrity — is on wide-ranging and colorful display in the Rhode Island School of Design Museum exhibit.

Songs sometime climax with Nicky Schrire improvising in a pure tone way up in her top register, like a bird darting on an updraft.

Despite its aura of “Gidget Goes Hawaiian,” and the profusion of cute props like rubber duckies and ukeleles, The Hypocrites’ production is smart enough not to mess (too much) with the original score and lyrics.

The only way to sort of enjoy “Family Tree” is with modest expectations; and indeed, this is the most modest of series, as Christopher Guest cuts his molars on TV with a program which rarely tries to be more than fairly amusing, mildly ambitious, a kind of bemused apprentice work in a new medium.

Yes, there is dance in New England this summer, but those who love motion may need to embark on a little themselves to journey further afield to watch it. The trip, I can assure you, will be worth it.