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“A Man of No Importance” is a fitting finale for Paul Daigneault’s tenure as Artistic Director of SpeakEasy Stage Company because it is a paean to the power of theater as both an artistic expression and a place to discover community.
A review of two fine backstage (or offstage) comedies at the Berlinale — “Blue Moon” and “Koln 75”.
“Fable for the End of the World” reflects our own uncertain condition — there are possibilities unknown, alternatives that even would-be godlings like Elon Musk and his ilk have not accounted for.
In “Justice Abandoned”, Rachel Elise Barkow argues that much of the blame for the blight of American mass incarceration lies with the Supreme Court.
For poet Elizabeth T. Gray, Jr., the neurological is also archeological.
Minor White’s autobiographical undertaking lacks diaristic narrative. There’s too much neurotic navel-gazing too much of the time. Yet it is very appealing as a twisted personal miscellany whose contents range from summaries of sex dreams to snarky letters that were never sent.
Our expert critics supply a guide to film, visual art, theater, author readings, and music. More offerings will be added as they come in.
Playing side-by-side on two different pianos facing in opposite directions on the Symphony Hall stage, Vikingur Ólafsson and Yuja Wang were as complementary, in a flavorsome way, as lemon and chocolate.
Gene Hackman’s legacy will never fade, and now, with his passing, many filmgoers may finally appreciate the enormity of his talent and the enduring impact of his work.
Arts Remembrance: Tom Robbins’s “Joy in Spite of Everything”
In his writing, in his life, and in his fun, generous, and winsomely wise spirit, the late — but never late for a party — Tom Robbins chose to feel “ridiculously fine” and wanted us to feel the same way.
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