Review
On its lively new recording, the Boston chamber group gives buoyant, colorful, and sharply characterized performances of three works by a longtime MIT composer.
The sisters’ new ECM recording catches the volatile interplay of lyricism and menace in a compellingly programmed set.
In “the drop falls” at 3S Artspace, the artist’s lush hybrid paintings bring Virginia Woolf, artificial intelligence, and ecological collapse into a seductive, disquieting flow.
Animated calligraphy, dancers in half-shadow, and two industrial robots create an eerie, elegant theater of marks, motions, and metallic afterimages at Jacob’s Pillow.
This lively live-action/animation hybrid turns the Road Runner cartoons’ eternal loser into a surprisingly moving plaintiff—and takes sharp aim at corporate impunity along the way.
Josh Alexander’s intimate studio documentary follows Sara Bareilles and her collaborators as they shape songs of infertility, bereavement, friendship, and collective consolation.
Not much bang and plenty of whimper
Director Diane Paulus’s high-spirited A.R.T. adaptation of Ionesco’s anti-conformist play sometimes overplays its comic business, but John Turturro’s scruffy, strident, anguished Berenger gives the production its necessary mix of horror, humor, and desperate resistance.
Martin Scorsese’s feverish New York classic remains a master class in urban atmosphere and subjective filmmaking—and a chilling study of how alienation curdles into violent fantasy.
Wilbert L. Cooper examines the paradox of Black police officers seeking safety and status inside an institution shaped by racial violence.
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