Review
Anybody at Tuesday’s show who thought the members of Kraftwerk were just punching buttons at their static posts while audiovisuals surged automatically would be mistaken.
Through it all, Deanna Raybourn’s quartet of females rely on the acuity and resourcefulness that has made the author’s other series characters both so memorable and beloved.
Navigating the clash between tradition and experimentation — they are often two vastly different artistic worlds — requires bold programming.
Ron Padgett’s “Pink Dust” proves that W.H. Auden was wrong — the nothing of poetry contains everything required to make a good (even heroic) life happen.
The sheepishly affable Trey Anastasio wisely focused on music, allowing him to play a broader representation of his repertoire across two hours and 25 minutes.
“Eephus” could’ve become a piece of conservative-leaning nostalgia but, to its credit, it refrains from making small-town sports great again.
Larry Robin is to Philadelphia what Allen Ginsberg is to Paterson, New Jersey. In short, he is beloved, far and wide.
Two astonishing books about the lives of Polish Jews who survived the Second World War or were born after the war.
The five performers with Down syndrome danced along with three professionally trained dancers without disabilities — and they all looked wonderful.
Timelines bounce a bit through the loosely organized, vignette-rooted book, where the back half casually weaves through a checklist of characters and tales not to be missed.
Arts Commentary: The Orchestra Gap — Europe vs. the US