Featured
Each month, our arts critics — music, book, theater, dance, television, film, and visual arts — fire off a few brief reviews.
Although novelist Halle Butler portrays the lives of millennial women (and men) as unhappy, anxious, and stressed, she does so in a highly entertaining way.
A lot goes on in an epic — three acts over three hours with two intermissions — and there’s boatloads for Kate Hamill to dramatize and for the audience to digest.
A Boston jazz critic’s notebook — three shows at Regattabar and one at the Lilypad.
In this engaging conversation, Elizabeth Howard speaks with Sonya Chung, the director of Film Forum in New York, about the intersection of film and literature, the relevance of the Oscars, and the impact of independent films.
This week’s poem: Elizabeth Savage’s “The Strong Man Vaguely Seen”
Nash Ensemble’s new album captures much of what makes Claude Debussy’s chamber music so fresh and beloved. Orion Weiss’s Arc III is smart, timely programming, dispatched with insight and care.
It is always a pleasure to see Ibsen on stage, but this production of one of his masterpieces is generally humdrum.
Whether he’s playing in the middle, on the edge, or is just flying out on his own, veteran tenor saxophonist Mark Turner reconfirms on these three new releases that he is still finding his own way.
Cultural Commentary: On the National Arts
There’s nothing benign about what just happened on the banks of the Potomac. Indeed, the president’s move makes history of the most nefarious kind: for the first time, the federal government has hijacked what is supposed to be the nation’s premiere arts institution in an effort to explicitly censor voices and viewpoints it deems undesirable.
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