Review
Perhaps the yuck factor of Night is a Room’s sexual proclivities elicits giggles as a cover for not knowing how or for whom to care.
The Huntington Theatre Company is giving Jeffrey Hatcher’s stage adaptation of the celebrated comic novel a congenial production.
The biggest takeaway from the evening was the superb quality of the Boston Philharmonic Orchestra’s playing.
Bill Griffith, the creator of Zippy the Pinhead, dives deep into his personal life in his extraordinary new graphic memoir.
Liars and Believers have been creating, conceptualizing, and rehearsing this show for eighteen months—and the seasoning has paid off.
The Spirit Moves is imbued with a sense of rebirth, emotional and creative, that pairs well with Langhorne Slim’s trademark barn-burning intensity.
One must be impressed by memoirist Matthew Spender, who refuses to descend into resentment or anything resembling self-pity despite a very strange childhood.
Master of None is an exercise in emotionally intelligent storytelling that delves into the real lives of its characters.
As with so many Frederick Wiseman films, we get color, character, sociology – and cinema.
Avoiding overly melodramatic images, The 33 is a true horror story on screen, one that we can identify with in the deep, fearful recesses of our collective subconscious.
The 20th Annual Francis Davis Jazz Critics Poll: The Institution Continues