Month: July 2012
As monster fiction, “Vlad” has hints, now and then, of what “Talulla Rising” doesn’t aspire to. In the former, Carlos Fuentes peels back the familiar to provide glimpses of the genuinely horrific.
Read MoreAccording to former WGBH Jazz DJ Steve Schwartz, “In retrospect, the writing was on the wall. About a year and a half ago, our shows were cut by an hour; before that, we were told we could no longer use the names of our shows or our theme songs.”
Read MoreJohn Mayer’s “Born & Raised” departs from the melancholy-ridden songs of youth, providing a subdued, folksier vibe that reflects an artist going on 35.
Read More“The Swan” is a bold choice for a theater company and demands excellent actors and direction to keep it afloat.
Read MorePatrick Barlow’s script and Chuck Morey’s direction of the Peterborough Players production turn “The 39 Steps” into a madcap, Marx-Brothers-style of zaniness barreling along at farce-speed until the very last moments.
Read MoreTired of glitz and looking for a transformative musical experience? You can do no better than to hear this relatively unheralded musician play some of the most sublime music ever written.
Read MoreThere’s no such thing as a free lunch, but in Boston this summer (and throughout the year) free concerts are as easy to find as upset fans at Fenway Park.
Read MoreBy using water as a lens to explore Ansel Adams’s artistry, this exhibition makes his fascination with motion and time crystal clear.
Read MoreIrving Berlin fans will be pleased to see such items as the complete Jerome Kern letter, (written in 1925!) in which Kern writes: “Irving Berlin has no place in American music. HE IS AMERICAN MUSIC.”
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Arts Commentary: “The New York Times” — Shouldn’t It Know the Purpose of Arts Criticism?
Based on Public Editor Arthur S. Brisbane’s recent New York Times column on arts criticism, he and others at the newspaper haven’t much of a clue regarding what a serious arts review is supposed to be.
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