Review

Fuse Concert Review: A High-Voltage “Elektra” at Symphony Hall

October 19, 2015
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I’ve rarely heard the Boston Symphony Orchestra playing with greater color, pliancy, or controlled energy as they delivered on Saturday night.

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Theater Review: “Copenhagen”—A Dazzling Production Conceals Moral Confusion

October 17, 2015
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Despite the dazzling rewards of this virtuoso Underground Railway Theater production, Copenhagen short circuits its central theme.

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Fuse TV Review: “Fargo” Season Two—Viscid, Vivid, and Nearly Perfect

October 17, 2015
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If the first episode is any indication, season two of FX’s Fargo is going to be an almost pitch-perfect sophomore effort.

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Theater Review: “I and You”—Sounding a “Barbaric Yawp”

October 16, 2015
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This gem of a play that is guaranteed to make you gasp at its surprising conclusion and leave the theater reveling in its lush language and the outstanding performances.

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Theater Review: New Rep’s “A Number” Doesn’t Add Up

October 15, 2015
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The laughter in the production serves a useful purpose: it distract us from the serious narrative problems in Caryl Churchill’s script.

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Film Review: “Lost in the Bewilderness” — Where Myth and Reality Meet

October 15, 2015
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Filmmaker Alexandra Anthony’s ambitious debut documentary was, in essence, fifty years in the making.

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Theater Review: Harold Pinter’s “The Homecoming” at the BTG—Stillborn

October 14, 2015
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Harold Pinter’s language can be enigmatic and deliberately bizarre, but it suggests arcs of passion and desire.

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Book Review: Critic and Poet Clive James—Reading and Writing Until the Lights Go Out

October 14, 2015
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Clive James gets the most out of whatever’s on the page and isn’t shy about making larger connections.

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Album Reviews: Danill Trifonov plays Rachmaninov and Michael Lewin plays Debussy

October 14, 2015
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Michael Lewin’s new album must surely rank among the most poetic and sensitive Debussy recordings of recent memory.

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Film Review: “Power and Impotence” — A Cold Look at a Hot Story

October 14, 2015
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Divided into three acts and an epilogue, the film attempts to generate Shakespearean resonances, but the presentation is more mundane than tragic.

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