Review
Vladimir Jurowski’s new recording of Rachmaninoff’s Symphony no. 1 is a tightly-played, exciting reading; The Yiddish Cabaret’s only real offense relates to poor labeling; The transcriptions in Russian Masquerade are played with spunk and vitality.
This new musical is charming and lively, but without some renovation its future life is in question.
Killing Eve is a smart, funny, and often shocking exploration of the complex psychologies of women leading dangerous lives, for whom killing comes much easier than it ought to.
The best (or worst, depending on your preferences) aspect to Boston Calling has become its attention to youth-centric subcultures that have blown mainstream in DJs/electronic music and hip-hop.
Edward Albee’s provocative theatrical exercise is far trickier to realize onstage than it is to appreciate on paper.
Verisimilitude is rarely a meaningful measure by which to judge a film, but The Souvenir is obsessed with exploring the line between documentary and narrative, reality and art.
Do musicals with honorable intentions deserve a pass when it comes to quality?
Almost every painting here is a discovery worth making.
We will find out how much the future of the earth matters in the next Presidential election.
Railroad Rhythms is one of the year’s delights: unexpected, well played, and thoroughly charming. Theodore Kuchar is a conductor who seems to know precious few limitations; Eduard Strauss, despite his champions, turns out to have been a competent writer of music for the day.
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