Debra Cash
What we don’t learn in “Josephine Baker’s Secret War” was what she did to steel herself against the risks she was taking. Was it all acting? A belief that her charmed life would never end?
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Whereas tap dancer Caleb Teicher is all idiosyncrasy, the Trinity Dancers wow by their perfect unison.
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There’s something gleefully retro about his hour-plus-long jukebox.
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International flamenco artist Omayra Amaya’s upcoming Boston shows represent a moment of both reunion and reflection.
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Looking back, the writing in the “Village Voice” was as good as Tricia Romano’s subjects remember. She excerpts paragraphs and the language is fresh, distinctive, sometimes profane, and always worth reading. For those who wrote books, it will send you back to the bookshelf.
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Is it possible to reclaim a marginalized legacy? And how do you step up to take a seat at the table when your history has been neglected and forgotten?
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Yiddish writer Celia Dropkin wrote not only of romantic love – a topic deemed quite suitable to women writers – but also of lust, anger, abasement, and violence.
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When the performers finally left the platform, breathing hard, crawling towards us and into the audience, I realized I was seeing something new.
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Choreographer Heather Stewart’s use of the stage space, while not “immersive” by the standard art world definition, is inventive and meaningful.
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This simultaneously entertaining and provocative show contests the premise that people today are invariably more sophisticated than those who lived in spiritualism’s heyday.
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Arts Remembrance: In Memoriam — Tom Stoppard