Colorful, characterful, and full of worldly wisdom, The Last Sorcerer—by a skilled and imaginative composer, to a text by the great Russian novelist— receives a superb world-premiere recording, with Met mezzo Jamie Barton and bass-baritone Eric Owens.
Tony Kushner attempts a re-write of his first professional play. The results are decidedly mixed.
The Tedeschi Trucks Band is capping another remarkable year of transition and growth, some of it spurred by tragedy.
Arts Fuse critics select the best in film, dance, visual art, theater, music, and author events for the coming weeks.
Ken Ludwig’s stage version of Murder on the Orient Express is an enjoyable diversion.
Terry Tempest Williams thinks that we must seize opportunities to save an increasingly endangered world — we don’t have a choice to feel powerless against the forces that seek to exploit and destroy the beauty of life on this planet.
The Brit-born iteration of mind-expansion music — from Syd Barrett onward — favors clever wordplay and musical accessibility.
Let the unimaginative people diddle around with their baseball cards and stamp collections. This is the kind of irrational, eccentric passion that you will be remembered for.
For all its cinematic zest and superb acting, The Irishman offers a bleak demonstration of what happens when you sell your soul for too little.
Jack Taylor has always been a version of the reluctant detective, but now he seems more impotent than ever — distracted, beat down, and very tired.