Review
James Ijames’s funny, moving family fable receives an engaging New England premiere, but its comforts also raise questions about what local theater should risk in a moment of public crisis.
With Yo-Yo Ma and Emanuel Ax on hand—and an audience that repeatedly, rapturously made its feelings known—the Boston Symphony Orchestra’s opening weekend served as both a musical showcase and a public tribute to its departing music director.
In “The Hard Path to Unity,” former congressman Barney Frank offers a sharp account of Trump-era politics and liberal disarray—but his call for patience with progressive “dissidents” invites serious resistance.
Iana Boukova’s novel finds enchantment in digression, folklore, and the sensuous music of language.
The Huntington Theatre Company production brings comic velocity and emotional force to a drama about a famous pastor, his fractured family, and the corrosive cost of obedience.
Scott Edmiston’s sharply acted Lyric Stage revival of Arthur Miller’s 1947 drama reveals the moral rot lurking beneath postwar suburban prosperity—and its unsettling relevance today.
Zach Cregger’s comedic instincts have overtaken his skill as a horror director. Resident Evil is more like a gory stoner comedy than an all-gas-no-brakes horror ride.
At the New Museum, “I Am Tony” turns film, music, violence, memory, and Black creativity into a searing visual reckoning.
David Kittredge’s lively, illuminating documentary revisits John Boorman’s troubled 1977 “Exorcist II: The Heretic”—a studio-era fiasco whose ambition, artistry, and afterlife now demand a second look.
With Matthew Hagle at the piano and a storied 1742 Guarneri in hand, violinist Pine found both familial warmth and dramatic urgency in three Brahms sonatas.
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