Debra Cash
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.
Read MoreSimultaneously 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.
Read MoreDon’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.
Read MoreIn 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.
Read MoreIt’s official. The 2013 jobs report of an organization called CareerCast rated “newspaper reporter” as the worst job in America.
Read MoreMaria Tallchief forever changed the idea of what it meant to see America dancing.
Read MoreIn 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.
Read MoreYou 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.
Read MoreThis week the Cunningham Dance Foundation released The Legacy Plan, a series of steps to document and preserve Merce Cunningham’s choreographies.
Read MoreEmily Johnson may be off the mainstream cultural radar, but I guarantee that is going to change, big time.
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