Review
Charles Morey’s new comedy focuses on the trials and tribulations of aging writers. Most of its humor revolves around the past, while its plot hinges on the present and future.
Like me, Phyllis Rose frets about the zillion fine books out there that nobody bothers with. Why their neglect? She reasons that it’s because no one pedigreed has championed them.
Some of J.M.W. Turner’s most personal, experimental, and enigmatic works have been selected for this show. They are also among the most fragile and least often shown.
Local playwright Jack Neary always captures the frisson of nostalgia and resentment familiar to Catholic school graduates of a certain era, teasing gently without ever offending.
Two significant feature debuts at the MFA’s French Film Festival — Age of Panic goes where few movies have gone before, while Apaches trains a calm, dispassionate gaze on disaffected youth.
One good reason to see Matthew Sweet is that his songs are more immediate live than on CD.
To judge from the BSO’s responsive playing and the audience’s enthusiastic responses, director-designate Andris Nelsons can’t do much wrong these days. Of course, a decade ago, neither could James Levine.
Incomparable opera diva Renée Fleming makes her debut as a stage actress — playing an impossible opera diva — in playwright Joe DiPietro’s sliver of a comedy Living on Love.
Company One’s production treats audiences to a seamless, eight-member ensemble who perform with a complicated bevy of multimedia effects that are so smoothly integrated into the action they elicit ooohs and aahs from the crowd.
Director Jenna Ware’s adaptation (a world premiere) of Carlo Goldoni’s inspired zaniness puts a delightfully distinctive spin on a classic of clowning.
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