Debra Cash
It was not the first time the Sarajevo Haggadah had benefited from Muslim protection: during the Nazi occupation, another librarian had spirited the Hebrew manuscript out of danger and hidden it in a local mosque.
Boston Ballet is showcasing a number of its ballerinas in the title role of Cinderella.
If calculating pi to a far-off-integer isn’t for you, TAO Dance Theater’s baffling kinetic exploits may seem less like an incredible journey than a trudge to a dead end.
I get why Compagnie Käfig’s Correria/Agwa has been booked onto stages in 15 countries and counting. But the troupe’s polished athleticism comes at the sacrifice of hip hop dance’s precious anarchy.
Dancer Wendy Whelan will not be appearing under the auspices of the Celebrity Series of Boston as planned.
Arts alert for readers in the Pioneer Valley.
No amount of postmodern theory can paper over the fact that a half-baked cake, even one made with tasty ingredients, fails to satisfy.
With a Stephen Sondheim show, it’s all in the casting, and Emmanuel Music’s casting was a mixed bag.
John Tiffany’s Tony-winning direction of “Once,” restaged for the current tour, is a miracle of judicious rhythmic choices and deft transitions.
“Lon Chaney is just a master,” says Roger Miller of The Alloy Orchestra, “and the film ‘He Who Gets Slapped’ has everything that he’s great at.”
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