Debra Cash
As my second wave feminist companion said as we left the theater, “That was hilarious. And I am SO ANGRY.”
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.
Susan Larson’s The Murder of Figaro is spiced with raunch, witticisms, and behind the scenes verisimilitude of rehearsal life.
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.
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.
Invariably, these economic realities are barriers to entry into the broader cultural arena for the less-well-heeled among us, sustaining inequity.
Playful and political, eerie and goofy by turns, this exhibition brings together puppets, performing objects, masks, and puppet (and doll) performances on video.
The Celebrity Series of Boston gathered a distinguished multi-generational panel to consider both the legacy of Alvin Ailey and of Elma Lewis.
For a reader without the reference points of mid-twentieth century Lithuania and Poland, this deeply researched biography can be a slog.
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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