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Aaron Swartz is indeed a martyr, but there’s more here. The film identifies an ongoing battle over control of information as much as it explores a troubled life that ended far too soon.
Chameleon Arts Ensemble’s rather lengthy program was like a huge feast, ending with the sumptuous Saint-Saëns’ Sonata No. 1 in d minor.
There is more than one way to tell the truth, “The Good Lord Bird” reminds us again and again, and many reasons to cloak it in humor.
Each of Susan Metrican’s pieces is coy and playful. Moving through the gallery is an adventure, visually and spatially.
When the septuagenarian protagonist of this novel finally gets out of her claustrophobic apartment, everything changes.
BSO’s conductor emeritus Bernard Haitink may be best known for his interpretations of Austro-German repertoire, but, on Saturday night, he channeled his inner Francophile.
The “Cambridge Jonson” volumes are available online, and the site is a bibliographical joy to behold, Ben Jonson’s plays, poems, masques, and prose arranged in chronological order and in a searchable format.
Claire Kilroy’s dark and fantastical comedy “The Devil I Know” nails the greed and rampaging ambition of the corrupt avatars of “the new Ireland” — developers, bankers, and government pooh-bahs.
I cannot express my love for “Angel Guts : Red Classroom” strongly enough. At the very least, it’s necessary listening for anyone with an interest in “no wave” and avant-garde music.
Music Remembrance: February 9th, 1964 — “Hey, You Kids Want Tickets to See the Beatles?”
Arts Fuse writer Tim Jackson recalls the impact of being in the audience of the “Ed Sullivan Show” fifty years ago.
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