Review

Theater Review: “Trigger Warning” — Not Quite Explosive

April 30, 2019
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As Zeitgeist Stage Company closes its doors, it’s hard not to wonder, with some bitterness, what our plucky local small-scale theater troupes would be able to accomplish if they had the resources they need.

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Book Review: John Hersey — Reporting Truthfully, at All Costs

April 29, 2019
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John Hersey emerges in this book as a disciplined journalist who held steadfast to an admirably singular goal.

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Concert Music Review: The Boston Philharmonic plays Ives and Mahler

April 28, 2019
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This performance of Ives’ Third was the most welcome entry in the Boston Philharmonic Orchestra’s celebratory season – a beautifully considered, powerfully rendered account of this too-neglected score.

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Book Review: “Necropolis” — A Book of the Russian Literary Dead

April 28, 2019
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This memoir offers an invaluable, broad look at intellectual Russia before and after the revolutions of 1917.

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Theater Review: “Beetlejuice” Bombards Broadway

April 27, 2019
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Beetlejuice may not be the blockbuster its creators are hoping for, but it is occasionally humorous and rarely dull.

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Book Review: Walter Gropius — The Very Human Face of the Visionary Founder of the Bauhaus

April 26, 2019
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Award-winning author and critic Fiona MacCarthy is out to change wrong-headed perceptions of Walter Gropius in her biography. And she succeeds.

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Classical CD Review: “Desires: A Song of Songs Collection” — Sensual Joy

April 26, 2019
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Desires will surely solidify ORA Singers’ reputation as a first-class choral ensemble.

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Film Review: “Her Smell” — Fiddling with Our Viscera

April 26, 2019
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Her Smell is funny-terrifying, alluring-repulsive, moving-disturbing, era-capturing and timeless.

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Jazz CD Review: The Art Ensemble of Chicago — Still Out on the Edge

April 25, 2019
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Amid the continual flood of new jazz releases, this anniversary bash is one to be savored.

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Film Interview: “Ira Gitler Lives” — From Bret Primack, Jazz Documentarian Extraordinaire

April 24, 2019
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“The half-hearted support of jazz by American broadcast TV, be it commercial or PBS or cable, has been an insult not only to the artists, but to the public as well.”

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