Review
Luca Guadagnino’s Suspiria is a landscape of the shadowy feminine, steeped in ancient magic, willful evil, and the cyclical round-de-lay of death and rebirth.
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The BSO recently announced an extension to artistic partner Thomas Adès’s contract. It is lucky to have him. So are the rest of us.
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To be truly effective black humor must have us laughing at something we fear, regret, or at the very least recognize.
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Commonwealth Shakespeare Company’s production of Birdy is at its best when it focuses on the play’s central relationships.
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The playwright supplies a memorable encounter between young and old in the play’s final scene, but it is too late to compensate for the superficiality of the Pirandello-lite antics that have come before.
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Maya Erskine and Anna Konkle turn in frequently hilarious but vulnerable performances as their adolescent counterparts.
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We need stories like The Wages to expose the hypocrisy and incoherence of the institutions that we are supposed to believe are pillars of justice.
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In the age of truthiness, poet Frederick Seidel’s is a welcome voice.
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Trumpeter Jason Palmer’s mastery is of the unimposing kind, which this piano-less quartet seamlessly reflects.
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Once is a wonderful musical and the Speakeasy Stage production does exquisitely right by its considerable merits.
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Music Commentary: New Orleans Jazz and Heritage Fest versus French Quarter Fest