Review
Mark H. Dold brings force and sensitivity to Barrington Stage Company’s compelling, uneven production, but the solo format undercuts Chekhov’s psychological complexity.
Sprawling, sexually frank, and often harrowing, “The Disappearers” turns the enforced secrecy of gay life in Jamaica into richly layered fiction.
In “A Dead White,” Wendy S. Walters blends memoir and cultural history to question the ubiquity—and presumed innocence—of white paint.
Reunited after 30 years, Bob Mould, David Barbe, and Malcolm Travis deliver a triumphant Roadrunner set that balances melodic hooks with cathartic fury.
From haunted islands to Gilead and outer space, four series keep the scary season alive.
Taylor Mac and Matt Ray’s bawdy, bighearted romp raised the Paramount’s roof, but its sprawling celebration of queer history cries out for a firmer editorial hand.
On his third recording of Benjamin Britten’s three solo cello suites, the Dutch cellist brings lucid intensity to their knotty arguments and haunting lyricism.
A new collection of unreleased demos, live performances, and studio recordings puts Crenshaw’s enduring pop gifts in the spotlight ahead of his November 11 appearance at Boston’s City Winery.
In her haunting installation “Cemetery of the Nameless,” Pınar Öğrenci contemplates displacement, anonymous deaths, and the cruelties that recur across borders and centuries.
Julia Loktev’s six-hour portrait of exiled TV Rain journalists headlined a festival program along with a tale set in Andrey Zvyagintsev’s corrupt provincial Russia and Emmanuel Marre’s understated study of collaboration under Nazi occupation.
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