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Skeleton Crew offers a redemptive look at a national tragedy — the financial crisis of 2008.
Mostly, indie horror seems constrained, not by lack of funds, but by lackluster creativity and a sort of sloppy artlessness.
This Hopkins Center production will be the US premiere of Dada Masilo’s much-anticipated reimagined version of Giselle.
This symphony is the finest synthesis of Leonard Bernstein’s considerable theatrical instincts within a concert framework, idiosyncratic and singular.
In The Humans, Stephen Karam suggests that America can be a heaven that, in a moment, might flip into hell.
Charles Ives continues to stand, after 140-plus years, as the ultimate American Composer.
A kaleidoscopic small-band adventure led by one of the world’s great clarinetists, and a superbly-played set by Ben Wendel’s dynamic quintet.
Pražák Quartet’s Smetana is keeper, Sir Simon Rattle’s Haydn is a loser, and Lindberg’s “On the Waterfront” is a knockout.
TV’s The Exorcist reinvents its source material for an occult-savvy (not to mention cinema-savvy) audience.
Rethinking the Repertoire #20 – Vasily Kalinnikov’s Symphony no. 1
Kalinnikov’s First Symphony is one of those neglected works well worth beating a drum for.
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