Featured
The delightful Wadsworth installation is a fitting setting for the beloved artist and illustrator and the work he himself loved.
It’s not a bad time to be performing back-to-the-boogie heavy metal music anywhere in the world.
The Lyric Stage production of Anna Christie does right by Eugene O’Neill’s brilliance.
In You Were Never Really Here, Lynne Ramsay’s themes of alienation, violence, guilt and redemption are once again present, albeit in a more frenetic form than before.
This is a sound I’ve never heard before at a chamber concert: over twenty musicians breathing in unison.
Iranian director Abbas Kiarostami’s last film is made up of a series of sometimes resplendent, sometimes disappointing, images.
There were the inevitable crowd-pleasers on which Audra McDonald puts her impassioned stamp.
The Rosenbergs is small in scope but large in ambition; it is an accomplished and moving opera that demands attention.
Thomas Doherty’s fragmented, stop-and-start-again style dilutes narrative authority and further complicates an already very complicated story.
Arts Commentary: The Last Laugh — Stephen Colbert, Comedy, and Cultural Resistance