Debra Cash
The pleasures of Joni Mitchell: In Her Own Words are the pleasures of being a fly on the wall.
Doug Elkins’ take on Othello is entirely of our era, when domestic abuse is finally a public discussion and a complex story of betrayal can be conveyed with pop culture efficiency.
There is now an online “sonic census” of puppetry in the greater Boston area.
Rebecca’s spirit will persist in every artist who remembers how much she believed in them, every organization that she urged to greater risk-taking and optimism for the future, and every friend brought together by the sorrow of her passing.
In red gloves and dark glasses, popping and locking, the Wondertwins are both imposing humans and robotic objects, organic and mechanical reproduction.
Rufus Wainwright is like that: unfiltered family love and dysfunction threaded through whammo pop tunes wrapped in the sequins of more than a little clear-to-those-who-know celebrity.
Mark Morris’ choreography for his 18-member ensemble alternates between joyful ring-around-the-rosy and contra dance circles.
This is what I call an example of a critic making an impact!
Carrying cacti around the stage in boxes and placing them on their heads and in predictably suggestive positions, the Boston Ballet dancers looked like they were having a blast
Arts Commentary — Big Money for Artist Activists From the Robert Rauschenberg Estate
It’s important for there to be funds, curators, institutions, and audiences for art that can speak truth to power in unconstrained ways.
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