Review

Theater Review: “Dead Man’s Diary” — Dare to Enter

May 17, 2017
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This production’s approach to Bulgakov’s source material is refreshing in its directness; it’s also bursting with visual and auditory inventiveness.

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Concert Review: Cantata Singers — An Evening of Biblical Power

May 17, 2017
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The Cantata Singers prefaced its intriguing, Jewish-themed performance with a marvelously sensory, spiritual experience.

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Dance Review: Beth Gill’s Passages

May 16, 2017
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Offering a carefully calibrated, nearly static universe, Beth Gill relies on the audience’s imagination to fill in any question marks

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Music Review: Singer/Songwriter Lucinda Williams — Americana Chanteuse

May 15, 2017
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The sense of place, the passage of time, the death-haunted imagery, and the coolly rhythmic verse gives Lucinda Williams’s songs their traction.

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Theater Review: Rock Critic Lester Bangs — A Welcome Rebel Yell

May 15, 2017
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Lester Bangs insisted that, at its best, rock was an act of pure rebellion, a liberation from the prison of respectability.

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CD Review: Have Mercy’s “Make the Best of It” – Best Isn’t Good Enough

May 14, 2017
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Acclaimed emo band Have Mercy doesn’t deliver much that’s new on their latest LP.

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Book Review: Polish Poet Czesław Miłosz — Master of the Telling Detail

May 13, 2017
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For a reader without the reference points of mid-twentieth century Lithuania and Poland, this deeply researched biography can be a slog.

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Dance Review: A Ratmansky Evening at New York City Ballet

May 11, 2017
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Two works by one of the most-in-demand choreographers of our time received powerhouse performances from the New York City Ballet.

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Dance Review: Classical, Three Ways, at Boston Ballet

May 10, 2017
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All of three of these ballets adapted the classical vocabulary and demonstrated that constant evolution is what keeps classicism alive.

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Theater Review: New York Stage Round-up — “Indecent,” “Sweat,” and “Bandstand.”

May 10, 2017
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Sweat and Indecent serve as forceful reminders that art matters — as if proof was needed.

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