Featured
The Sphinx Virtuosi is terrific: the group’s unified tone and articulations, impeccable responsiveness and technique, and command of stylistic nuance are all of the first rank.
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The all-too-human propensity for not only telling yourself what you want to hear but taking what you see at face value is what drives the action.
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For those with an appetite for lyrical absurdity, this dark and demanding journey into a bedeviled night will repay the effort.
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Each month, our arts critics — music, book, theater, dance, television, film, and visual arts — fire off a few brief reviews.
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Ace performances help make Night Side Songs a rich and moving experience, compounded by the fact that it is valuable to be in a room full of empathy and love in these trying times.
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Richard Kreitner’s narrative shows that, in general, Jews were apparently no more intolerant of slavery than any other Americans – notwithstanding their spiritual and national history of liberation from bondage.
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“The Triumph of Love” lacks the physical comedy and swift action that usually characterize a farce. Here the dialogue is the action.
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Roger Clark Miller’s latest solo electric guitar ensemble album showcases him at his best, blending avant-garde experimentation with familiar guitar rock textures.
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“Visionary Projects” at the Boston Athenaeum is a captivating exhibition of Frank M. Costantino’s work, a display of over 80 drawings and watercolors.
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Arts Commentary: Time to Step Off the “Carousel” of Denial
We desperately need plays and musicals — produced by local companies with courage and nerve — that acknowledge that the cancer of autocracy is here, today, and becoming stronger. That is the demand — will any answer the call?
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