Review
To hear Nat King Cole move from an anonymous member of a backing chorus to a world-class vocal soloist is well worth the time this boxed set demands.
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When confronted with a seemingly intractable quandary, playwright Larissa FastHorse — and her characters — take the easy way out.
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In this book, Naomi Klein shines a light on the path to a politically and economically just model of sustainability.
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TRIPTYCH (Eyes of One on Another) serves up a cool emotional package.
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Michel Layaz’s narrator is juggling much more than nostalgia — his traumas are overwhelmingly odd and disturbing, almost to the point of absurdity.
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All told, The Topeka School is engaging — it’s a talented and kaleidoscopic story touching down just about everywhere in modern life.
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Dramatist Tracy Letts’s new play is raw, funny, and intensely personal.
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No one would classify the National as “arena rock,” but Matt Berninger and the group proved at Agganis that they’re quite capable of filling an arena and then putting on a show worthy of the space.
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The audience members were as diverse as the cast, the show is not being staged in a traditional space in Boston, and the play is incredibly relevant.
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At its best, Lauren Yee’s vibrant play with music offers a compelling exploration of survivor guilt, the urge for revenge, the deforming power of the past, and the impossibility of finding justice for crimes against humanity.
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