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The music Nick Waterhouse performs (almost all of which he writes) is consistently retro—not to mention relentlessly danceable and fun.
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This evening is a revelatory experience on race relations, with grief, rage, and the whole business of hope and change.
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The final two concerts of the BSO’s season were in the orchestra’s sweet spot.
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Indecent is a play of contrasts: piety versus blasphemy, joy versus heartbreak.
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“Forgiveness is the key and love is the answer… Have a good Jazz Fest, but also have a good life.”
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These exhibitions present two very different ways of engaging with gender, both raising the question of gaze.
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James Graham’s new play almost evokes sympathy for the devil. Almost.
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Two autobiographies by women who had some experience in legitimate theater, but they each gave their strongest allegiance to dance, specifically one choreographer.
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Once much-performed, then banished from the stage by the Nazis, The Miracle of Heliane, now available in a fine new recording, is perhaps the best opera by the man who would become one of Hollywood’s leading composers.
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Is it all, from here on out, to be about Daenerys v. John Snow for the Iron Throne?
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