Debra Cash
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.
“A Constellation of Vital Phenomena” is spectacular.
In George Balanchine’s Serenade and Symphony in C and in Wayne McGregor’s Chroma, architecture comes to the fore, but not exactly conveying the message that company director Mikko Nissinen seems to have intended.
Simultaneously storyteller and player, ancient character and modern respondent, Denis O’Hare’s performance of “An Iliad” elicits the kind of respect automatically granted this genre of demanding monologual performance.
Don’t be late for a very important date when the Coolidge Corner Theatre hosts a Sunday morning, high-def broadcast of the Royal Ballet’s production of Christopher Wheeldon’s celebrated “Alice’s Adventures in Wonderland” on May 5.
In a modest tweak of Dorothy Fields’ lyrics to the famous Jerome Kern song, this weekend will be Boston’s chance, via the Design Museum Boston, to sit yourself down, dust yourself off, and start all over again.
It’s official. The 2013 jobs report of an organization called CareerCast rated “newspaper reporter” as the worst job in America.
Maria Tallchief forever changed the idea of what it meant to see America dancing.
In her recent program at the Boston University Dance Theatre, Corbett riffed on the eerie, 1967 Diane Arbus photograph of identical twin girls in Roselle, New Jersey.
You have to appreciate a guy who expressed his concern for both the drought on the Texas plains and the local arts community’s drought in terms of cancelled jazz programming on WGBH and the closing of the BOSTON PHOENIX.
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