Review

Dance Review: Choreographer Leonid Yakobson — Soviet Rebel Under Cover

September 22, 2015
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Boston Ballet’s reconstructed versions of Yakobson’s Pas de Quatre and four Choreographic Miniatures were a revelation.

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Theater Review: “A Little Night Music” — Staged Beautifully, and with Heart

September 22, 2015
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The Huntington Theatre Company’s magnificent production of Stephen Sondheim’s masterpiece A Little Night Music is as good as it gets.

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Film Review: “Black Mass” — Oh, What Could Have Been

September 22, 2015
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Rarely is an actor so completely miscast in such a pivotal role.

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Fuse Theater Review: Color Me “Gloucester Blue” — at the GSC

September 21, 2015
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Gloucester Blue is a lively play whose glow is generated by the spirited, tragicomic performances of a cast that obviously delights in performing it.

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Concert Review: Odyssey Opera’s “Le Cid” — Romantic Turbulence

September 20, 2015
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Massenet’s instinct for drama and gifts as an orchestrator go a long way to carrying the piece, but it still can make for a long night at the theater.

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Theater Review: “appropriate” — Southern Gothic, Entertainingly Deconstructed

September 19, 2015
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In appropriate, a talented young playwright turns mischievous literary homage into a work of exhilarating entertainment.

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Film Review: A Powerful “Black Mass” — We have our Whitey Bulger Movie

September 19, 2015
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When they watch Black Mass what are Bostonians seeing? A strange blend of reality and mythology.

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Theater Review: “Academy Fight Song” — Cutting the Ivory Tower Down to Size

September 17, 2015
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Membership in academe comes down to those who never wanted to leave the comforts of college or those who see it as a launching pad for scoring big bucks.

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Dance Review: Choreographer Paul Taylor’s Extraordinary Domain — on Film

September 16, 2015
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A fascinating documentary in which you get both a Paul Taylor dance and the making of the dance.

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Music Review: Spain’s Rototom Sunsplash — Bad Politics and Good Music at Major Reggae Fest

September 15, 2015
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This year’s fiasco at Rototom Sunsplash proved that political energies can drive great art but have no place when it comes to programming and curation.

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