Debra Cash
As my second wave feminist companion said as we left the theater, “That was hilarious. And I am SO ANGRY.”
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In this new biography, Ted Shawn is on display in all his narcissism, paternalism, hypocrisy, originality, and the dedication to creative expression that set American modern dance on its way.
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Susan Larson’s The Murder of Figaro is spiced with raunch, witticisms, and behind the scenes verisimilitude of rehearsal life.
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David Treuer’s expansive new history of native America from 1890 to the present looks with skeptical, Indian eyes from inside simplistic American symbols and narratives.
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The horrors portrayed in See You Yesterday are facts, but this show does not yet address the meaning a new generation can make of those facts.
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Invariably, these economic realities are barriers to entry into the broader cultural arena for the less-well-heeled among us, sustaining inequity.
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Playful and political, eerie and goofy by turns, this exhibition brings together puppets, performing objects, masks, and puppet (and doll) performances on video.
Read MoreThe Celebrity Series of Boston gathered a distinguished multi-generational panel to consider both the legacy of Alvin Ailey and of Elma Lewis.
Read MoreFor a reader without the reference points of mid-twentieth century Lithuania and Poland, this deeply researched biography can be a slog.
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Arts Commentary: Helping Dance at a Time of Social Distancing
How, frankly, could I help people engage with their inherent creative powers and feel just a little bit better?
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