Bill Marx
Imaginary Beasts is to be congratulated for bringing public attention to the brilliant, idiosyncratic-to–the-max-and-beyond work of Daniil Kharms, a writer silenced by Stalin.
In The Days Trilogy, Expanded Edition, H. L. Mencken comes off as a marvelously mellowed master, his trademark savagery smoothed over, its energy focused on generating a pungently picturesque vision of a vanished America.
Serbian writer David Albahari’s fascination with uncertainty fuels a grim, sardonic tragi-comedy in which silence plays an elemental but enigmatic role.
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.
Critical Commentary: But Can You Relate?
Fighting for the intellectual integrity and independence of arts reviews means demanding more analysis and less sales talk.
Read More about Critical Commentary: But Can You Relate?