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Hub Theatre’s virtual production of Much Ado About Nothing recognizes Zoom’s potential for farce and leans into it: this is a rollicking delight of a show that refuses to take itself seriously, to everyone’s benefit.
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To Sound of Metal’s credit, the narrative remains open-ended, refusing to descend into a predictable “Hollywood” story of triumph over adversity.
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Bill Irwin’s homage to Samuel Beckett explores what makes the writer so fascinating, even inspiring, for those who appreciate the knockabout beauty of his despair.
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To his credit, Kawaguchi is a canny enough craftsman to give the time tripping cliché a healthy spin.
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This is history from a distance. Harris’s characters feel more real when they’re working out the equations that will make a missile fly or fall than when they’re fleeing a double agent or a misfiring rocket.
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A trio of recordings help us rethink and rehear composers as varied as Barbara Strozzi (from the seventeenth century), Chopin, and Mahler.
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Now that ¾ of the Yellowjackets are eligible for Social Security, the emphasis is more on confirming a legacy of creative compositions and expanding their art of arranging with a broader range of colors.
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With great sightlines from every one of its 216 seats, the Doris Duke Theatre space made for intimate, often enthralling encounters with movement.
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A powerful allegory for our techno-crazed, consumption-addicted, soul-crushing times.
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Host Deanna Costa virtually meets with country musician Teagan Stewart to chat about her latest EP, Taste of My Heartbreak.
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