If you are in New York this week there is plenty of art to see. Just a short walk from the Metropolitan Museum is a show that you will probably never see again. You can visit it for free. It closes this weekend.
Two exquisite sopranos bring us refreshing songs, arias, and cantatas; and a noted Broadway composer and a remarkable Black librettist offer a searing opera about police brutality.
Dance Fever is one of the few pandemic-themed artworks that doesn’t feel contrived — it is specific about the value of music to the individual and by extension to the community.
The most popular game/platform in the world shows us how some of the darkest chapters of labor history can easily repeat themselves in virtual reality.
For the foreseeable, capitalist American future, full and equitable access to live, professional performing arts will depend on subsidy.
A terrifically significant, and eccentric, trio of films are turning 50 this year: Marjoe, Pink Flamingos, and Silent Running.
What will guarantee obsolescence? If members of the BTCA continue to embrace a “whatever is, is right” attitude to Boston’s stage scene.
David Lynch’s Inland Empire is a provocative challenge to filmmaking as a medium of visual storytelling that’s largely gone unmatched in the sixteen years since its initial release.
Two dark comedies explore American and British subcultures far below the line of decency.
The album serves up exceptional stuff, even if the program’s a touch macabre and pianist Orion Weiss’s well-written liner notes make uncomfortable connections between the world of pre-World War 1 Europe and our own pandemic-riddled age.