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Credit director Elisabeth Subrin for being resourceful in incorporating her cast’s real-life situations into her storytelling.
The nearly 10 year wait for the premiere of Esa-Pekka Salonen’s string quartet Homunculus was worth it.
“There’s not too many people wanting their money back, thinking that they’re at a Pig Destroyer show or Destroyer 666.”
This superb volume is much more than a group of essays; it is a tale with a trajectory fashioned by a writer who is determined to be achingly honest.
As a storyteller, Rohina Malik exudes warmth and humanity.
Anthony DeCurtis wants to do justice to his subjects’ extensive catalogue, but the book begins to feel less like exegesis and more like Lou Reed 101.
Thelma learns that she can’t escape who she is — but she can control what she does.
Ultimately, this production of Lost Girls might have gone deeper if it had been slowed down a bit.
SpeakEasy Stage Company’s production of Shakespeare in Love comes off as lovely, temperate, and at least a little trite.
Classical Music Commentary: Boston’s Lost Opportunity — How the BSO Board Chose Charles Munch over Leonard Bernstein