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This gem of a play that is guaranteed to make you gasp at its surprising conclusion and leave the theater reveling in its lush language and the outstanding performances.
The laughter in the production serves a useful purpose: it distract us from the serious narrative problems in Caryl Churchill’s script.
Filmmaker Alexandra Anthony’s ambitious debut documentary was, in essence, fifty years in the making.
Harold Pinter’s language can be enigmatic and deliberately bizarre, but it suggests arcs of passion and desire.
Clive James gets the most out of whatever’s on the page and isn’t shy about making larger connections.
Michael Lewin’s new album must surely rank among the most poetic and sensitive Debussy recordings of recent memory.
Divided into three acts and an epilogue, the film attempts to generate Shakespearean resonances, but the presentation is more mundane than tragic.
Philippe Petit’s feat has inspired an amazing documentary, and now an amazing feature film.
An event that makes you feel good about the Boston scene—in part because it’s about the rock community getting together to help friends with multiple sclerosis.
Rethinking the Repertoire #4: James MacMillan’s “Tryst”
James MacMillan is one of the few contemporary composers who has embraced elements of the avant-garde and still found a wide audience.
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