Bill Marx
When it comes to race relations, America has a lot on its plate — there is no good reason to serve leftovers.
We intend to stage work by all the living American poets we can lure into our sphere: starting right here in Cambridge.
Today’s increasingly corporate-approved theater stays within safe, civic-minded boundaries.
Despite commentary to the contrary, Jonathan Blumhofer thinks that in the negotiations between the Met management and the unions there was a winner and a loser.
Clocking in at around three hours, the show is a surreal grab bag filled with gags, skits, and sketches, the whole kooky kit and kaboodle tied up (too) neatly in a paranoid ribbon.
Stage coverage at the Boston Globe/NPR brain trust is generally dedicated to serving the rich and the trendy — the publicity gum drop for Finding Neverland is the latest evidence that the fix is in for the fat cats.
There are laughs in this production of Twelfth Night, but the romantic payoffs are scarce, perhaps because the sit-com rhythms tend to swamp all else (including some of the poetry).
A major regional theater is turning itself into a launching pad for Broadway/Las Vegas blockbusters, with Hollywood pouring cash and advice into the pipeline. .
Until now, the powerful economic reality spotlighted by The Arts Factor has generally been ignored or dismissed as anecdotal.
Critical Commentary: But Can You Relate?
Fighting for the intellectual integrity and independence of arts reviews means demanding more analysis and less sales talk.
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