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Mayer’s report deals with David Koch throwing his weight around at WNET and PBS. Unfortunately, she does not talk about whether Koch’s powerful presence has influenced WGBH.
This Judicial Review deals with the Boston premiere of John Harbison’s opera version of F. Scott Fitzgerald’s novel The Great Gatsby. Read the reactions and join the conversation.
Despite the show’s darkness, “East 100th Street”‘s exploration of Harlem in the ’60s is in many ways a testament to the endurance of love.
The Lyric Stage Company of Boston’s production can’t quite get its arms around all of the varied elements in this exhilarating musical, but some terrific performances make up for other weaknesses.
The show was like topping a delicate wedge of artisanal cheese with a handful of artisanal trail mix. Both the Christian Science Plaza and the sculptures themselves are exquisite on their own, but together the experience felt disjointed and oddly incompatible.
The idea of house concerts seems to be getting some legs. The “fabulous world headquarters loft of Accurate Records” again plays host, this time to the eclectic San Francisco band, Mercury Falls.
The ebullient entertainer Maurice Hines held court this week at a packed Cutler Majestic Theater, along with a score of other very talented musicians and tap dancers. What an evening!
The influence of two centuries of dandies on fashion — and the artful, strategic, ready-for-the-paparazzi self-presentation at the heart of modern celebrity — is on wide-ranging and colorful display in the Rhode Island School of Design Museum exhibit.
Songs sometime climax with Nicky Schrire improvising in a pure tone way up in her top register, like a bird darting on an updraft.
Despite its aura of “Gidget Goes Hawaiian,” and the profusion of cute props like rubber duckies and ukeleles, The Hypocrites’ production is smart enough not to mess (too much) with the original score and lyrics.
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