Review
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.
At TD Garden, Geddy Lee and Alex Lifeson honored Neil Peart’s legacy without trying to replace him, as Anika Nilles powered a revitalized, emotionally resonant version of Rush through two distinct marathon sets.
Claudia Acuña reconnects Chilean roots with American jazz on “Ave de Luz,” while Jorge Drexler explores love, technology, politics, and dance on “Taracá.”
A lawyer-poet’s arguments against war, racism, plutocracy, and despair are sharpened by moments of sensual attention and stubborn devotion.
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