Review
Pascal Garnier’s characters slip through cracks, cross borders, pass through the thin mirrors of the self, and commit irreparable acts.
Saturday’s was the most electrifying, exciting, spontaneous-sounding, inevitable performance of this warhorse (Beethoven’s Violin Concerto) I’ve heard.
For all the attention it receives and the level of cultural relevance it assumes House of Cards ought to be a much better series than its aggressive promotion makes it out to be.
At a mere 1 hour and 34 minutes, Chuck Workman’s documentary about Orson Welles is rushed and sometimes choppy, leaping through the filmmaker’s bountiful life.
Club Passim’s vegetarian days are over — the new menu is all about “globally inspired New American cuisine.”
Actors’ Shakespeare Project’s superb production of God’s Ear honors this beautiful text.
Don’t miss the “joyous shout and ringing cheer” of this delightfully boisterous version of The Mikado.
The Bridal Chair will not only answer many questions about this complicated, famous family; like Chagall’s best work, it will also linger in the mind.
Moses(es) has many layers of metaphor and suggestion, but the surface is always visually intriguing, musically imaginative
Music Commentary: Brian Wilson’s Legacy Thrives — 2026 Reissues Reviewed