Review
The disc is manna for lovers of assertive electric guitar, played by one of today’s top practitioners, in an unadorned trio setting.
Overall, Juliana Hatfield’s Weird is closer to good than to great.
Climax may be the director’s most fully realized attempt so far to suggest a state of madness onscreen.
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.
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.
To be truly effective black humor must have us laughing at something we fear, regret, or at the very least recognize.
Commonwealth Shakespeare Company’s production of Birdy is at its best when it focuses on the play’s central relationships.
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.
Maya Erskine and Anna Konkle turn in frequently hilarious but vulnerable performances as their adolescent counterparts.
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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