Chris Daze Ellis takes a serious risk. If you hang your work next to Berenice Abbott’s, it had better be as brilliantly framed, as firmly direct, and as perfectly focused as hers.
In a world populated by talented pianists, James Brawn is a standout. He’s not just a virtuoso, but also a probing, thoughtful musician with strong, creative programming instincts.
Carrying cacti around the stage in boxes and placing them on their heads and in predictably suggestive positions, the Boston Ballet dancers looked like they were having a blast
The Lunchbox is that rare film experience that stays with you, makes you think about its multi-layered, subtle performances and storyline, and forces you to see it again.
The conceit of “On the Verge” is fascinating, inviting us, as all first rate speculative or science fiction does, to see our past through different lenses.
Fred Turner’s counterintuitive and subtle argument in The Democratic Surround draws a direct line between the design of museum exhibitions and the Be-Ins of the Summer of Love.
I love an album that ends with a bang – and The Swans’ To Be Kind ends with four.
The value of these two superb “operas” is learning where harpist Deborah Henson-Conant was musically (and emotionally) in the early ’80s.
Futurism, as the Italian proponents conceived of it, ended up not having much of a future. But its practitioners had some good days at the beginning.
It is encouraging to see new plays that tackle substantial social problems.