Review
Apollinaire Theatre Company has done delightful justice to this zesty rejuvenation of a didactic dramatic chestnut.
Seeing the rugged minimalism of golf in its infancy was very appealing.
Sometimes new music isn’t really new and old music isn’t actually old; the best of it exists on some other plane entirely.
Get Out owes much to the small but precious film genre that dares to cultivate bizarre and hip satire.
Olivia Kate Cerrone tells this story in raw, blunt terms, in a naturalistic mode worthy of Zola.
The Boston Conservatory production of Mass was mostly frustrating, but Leonard Bernstein’s score came across very strongly.
A welcome triumph for Hyperion, Bruch, and the Nash Ensemble, but the Oregon Symphony does not do right by Haydn.
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