Review
There is no question that this new volume will be the resource that all subsequent historians will turn to when they explore the trajectory of classical ballet’s slow — and not yet completed — choreography towards racial inclusion.
“Edie Arnold Is a Loser” is a divinely idiotic punk-rock Catholic-school comedy: sweet, predictable, outrageous, mildly blasphemous—and infectious.
Yuval Abraham and Rachel Szor’s rigorously constructed follow-up to “No Other Land” uses testimony from Israeli military whistleblowers to expose the systems of surveillance, dehumanization, and moral evasion that shaped Israel’s war on Gaza.
The festival’s strongest films find courage, comedy, and unexpected forms of kinship amid political repression, mortality, war, and the complications of family.
John Potter’s deeply researched history follows English carols from streets and taverns to churches, choirbooks, and the contemporary musical vernacular.
From Matthew Rankin’s delirious Brian Mulroney spectacle to Ashley Duong’s intimate family history, TIFF’s Canadian slate offered films unlikely to draw attention anywhere else.
Simone Dinnerstein and A Far Cry brought warmth, virtuosity, and strikingly inventive instrumental color to an expanded version of Bach’s keyboard masterpiece at Jordan Hall.
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.
Arts Commentary: Superman, Spider-Man, and the American Art of Slugging Nazis