Review

Concert Review: Ken-David Masur and Stefan Asbury conduct the Boston Symphony Orchestra

February 15, 2015
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After several years in the wilderness, it seems that, on the conducting front at last, the BSO is again in good hands.

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Theater Review: “The King of Second Avenue” — Did Somebody Say Putz?

February 14, 2015
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The King of Second Avenue’s one-joke shtick wears out long before the end of this 90-minute musical.

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Book Review: “Mr. and Mrs. Disraeli, A Strange Romance” — But an Amazing Marriage

February 13, 2015
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Daisy Hay turns her sharp yet sympathetic eye on Mary Anne and Benjamin Disraeli, whose marriage seemed unlikely at the start but which grew into something not only strange but, even in modern terms, amazing.

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Fuse Book Review: “Wilde in America” — Not Wild Enough?

February 13, 2015
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What Oscar Wilde was peddling in America was beauty. Art for art’s sake. Gorgeous flowers. Ravishing colors.

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Film Homage: 1932’s “A Farewell to Arms” — A Perfect Movie for Valentine’s Day

February 12, 2015
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Oh, to be a lead character in a Borzage movie. You might expire during the final dissolve into “The End,” but man oh man, you will have loved. And you will have been loved.

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Dance Review: “Gumshoes in Tap Shoes” — Sleuthing for a Voice

February 9, 2015
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Gumshoes in Tap Shoes, a dance noir with ’60s big-band music from the likes of Henry Mancini, is an ambitious project.

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Film Review: “A Most Violent Year” — A Most Masterful Accomplishment

February 9, 2015
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A Most Violent Year is nothing if not intense.

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Fuse Book Review: “Bomb’s Author Interviews” — Hipper Than Thou

February 8, 2015
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Bomb Magazine’s goal is not merely to comment on the arts, it is about making art.

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Book Review: “American Justice 2014” — A Sturdy Look at the Current Supreme Court

February 7, 2015
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The most important takeaway from American Justice 2014 is the potential danger, from Epps’s perspective, of the growing influence of Justice Alito.

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Theater Review: “The Second Girl” — A Sensitive Portrait of the Irish Working Class

February 7, 2015
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The actors in the central roles are extremely fine, particularly Kathleen McElfresh’s beautifully nuanced performance as the anguished Bridget O’Sullivan.

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