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The true star of the Lyric Stage production is Aimee Doherty, who is marvelous in the role of Penelope.
In this exhibit, curator Robin Hauck celebrates ten Boston-area artists who resist the relentless distractions that contemporary life imposes on all of us.
Perhaps “The Moment” did manage to nail one truth about the music industry: when fame and opportunity come knocking, it’s near impossible not to wring out every drop of profit.
Mary Helen Washington’s biography of Paule Marshall provides a thorough consideration of the writer’s achievement and a convincing case that her fiction and her public speeches deserve continuing attention and respect.
Backbeats is a detailed and informative story. Each profile functions as an entry point into a selective but substantial survey of roughly seventy-five years of rock history.
The intention isn’t to provoke, eroticize, or sexually titillate. Devoid of the kinds of melodramatics that play into the fujoshi fantasy that’s all the rage right now, “Pillion” is a film about fetishes that never fetishizes its subject matter to placate an outsider’s gaze.
Kathleen Spaltro’s biography of Ethel Barrymore briskly traces her mythic career but brings to life neither the woman nor her theatre.
With its briskly intoxicating style, narrative aplomb, and masterful performances, this film transforms pulpy material into a gripping entertainment with a satisfying, social justice subtext.
In this episode, Elizabeth Howard speaks with Bsrat Mezghebe about her debut novel, “I Hope You Find What You’re Looking For.”
This week’s poem: Sarah Riggs’s “Song to Nefertiti from Brooklyn”
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