Review
In both pieces on the ODC/Dance program, serious ideas underlay a lush movement language adorned with striking scenic effects.
Jerusalem Quartet’s Bartók is more elegant than hard-edged; Heath Quartet’s Tchaikovsky is vigorous and sweeping.
A less skilled playwright might have gone for the obvious and focused on mercy-killing and the ravages of Alzheimer’s.
Did Martin Scorsese want this film about religious faith to reverberate so faintly, to make its point through such awkward stillness?
Patriots Day provides an intimate view of a heart-stopping week.
London’s Design Museum is now one of the major venues in the world for experiencing the art of design.
This is a thoroughly pedestrian production — wobbly, uninspired, and often downright tedious.
Dorrance’s partners dance jazz in the most basic way, for its propulsiveness and its amenability to individual imagination.
Cameron Carpenter played the Terry Riley composition commandingly.
Askins’ script is an amusing mash-up of sex comedy and supernatural horror parody.
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