Review
Pianist Benjamin Hochman is a musician who’s interested in insightful programs that can be provocative, speak across centuries, and engage the mind as much as they delight it.
I get why Compagnie Käfig’s Correria/Agwa has been booked onto stages in 15 countries and counting. But the troupe’s polished athleticism comes at the sacrifice of hip hop dance’s precious anarchy.
Aaron Swartz is indeed a martyr, but there’s more here. The film identifies an ongoing battle over control of information as much as it explores a troubled life that ended far too soon.
There is more than one way to tell the truth, “The Good Lord Bird” reminds us again and again, and many reasons to cloak it in humor.
When the septuagenarian protagonist of this novel finally gets out of her claustrophobic apartment, everything changes.
BSO’s conductor emeritus Bernard Haitink may be best known for his interpretations of Austro-German repertoire, but, on Saturday night, he channeled his inner Francophile.
Claire Kilroy’s dark and fantastical comedy “The Devil I Know” nails the greed and rampaging ambition of the corrupt avatars of “the new Ireland” — developers, bankers, and government pooh-bahs.
I cannot express my love for “Angel Guts : Red Classroom” strongly enough. At the very least, it’s necessary listening for anyone with an interest in “no wave” and avant-garde music.
Love stories, treachery, brilliant plans, history itself gone awry – it’s all here in inspiring abundance in this fabulous novel, where the Spinozas make their way through hundreds of years of European history.
“House/Divided” – a mélange of dazzling videography, startling and inventive lighting/props/stage craft, and spoken snippets of John Steinbeck’s quasi-Biblical prose – does not add anything new to our understanding of the current national malaise.
Recent Comments