Review
What stands out for this reader is the humor Daniel Poppick mines from the quotidian.
Composer and bandleader Maria Schneider is a storyteller, and that’s the best way to approach her music for the first time. You listen like you read a short story, with your full attention, and your imagination synced with all of your senses.
Overall, the In the Fiddler’s House concert captured the infectious joy of this wondrous musical genre.
Yusef Komunyakaa and Laren McClung’s goal — achieved through tag-team lyric utterance — is a noble spirituality.
Considering its hard-to-fault premise, Peacock’s “The ‘Burbs” should be a lot more fun than it is.
While I heartily recommend “Sixties Surreal” as a provocative revisionist compendium or almanac, I know the volume will frustrate those who expect to find a conventional survey.
The book argues, convincingly, that Sid Caesar’s genius wasn’t in what he did or said so much as in the anarchistic energy he encouraged his writers to unleash and harness.
The question was how well these mid-20th century works would hold up and how, with the passing of time, those dances would look to both familiar and fresh eyes.
The true star of the Lyric Stage production is Aimee Doherty, who is marvelous in the role of Penelope.
In this exhibit, curator Robin Hauck celebrates ten Boston-area artists who resist the relentless distractions that contemporary life imposes on all of us.
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