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There’s a profound catharsis in watching “Bugonia,” one that echoes the catharsis articulated by those who attended the ‘No Kings’ protests on the 18th.
The musicians assembled here for the updated recordings of tunes from fifty years ago are first-rate, and Peggy Lee still convincingly inhabits a wide range of material.
A generous serving of what theater critic John Lahr calls playwright John Guare’s “funhouse-mirror reflection of American life’s caprice and chaos in the twentieth and twenty-first centuries.”
Scribble, smudge, repeat: the passage of time and the emergence and dissipation of information conveys the difficult work of experiencing coherence and retaining memory.
“The Mastermind” points to the impossibility of trying to live as though the outside world and its politics don’t exist.
The blend of rhythmic dance and gorgeous music made for a very harmonious collaboration.
By engaging with this work, museum visitors are likely to gain a greater appreciation for — and understanding of — the wide-ranging talents of Indigenous artists.
This is the story of powerless little people caught up in a confusing maelstrom, at the receiving end of senseless violence.
How our memoirist and the man who shook Mickey Mouse’s hand crossed paths is characteristic of the author’s good fortune and perseverance.
Our critic watched a half-dozen films in this year’s GlobeDocs Film Festival and shares his thoughts.
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