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Dissident artist Ai Weiwei speaks for an alternate China, another possibility for it. In a sense, he is the anti-Mao. Alison Klayman’s “Ai Weiwei: Never Sorry” is an essential introduction to his work to date.
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Updated Aug. 9 at 3 p.m. In the second week of August, the power of percussion is much in evidence, with Mikael Ringquist and Marcus Santos, Manolo Mairena, Gary Fieldman, and Vicente Lebron. New Orleans adds some flavor with Christian Scott and Galactic, and Berklee Summer in the City just keeps rolling along.
Read MoreI’m sure organizers are not losing a lot of sleep over controversies about the definition of “folk” music since festivals are selling out.
Read MoreHere is Tanglewood live and uncensored, as it were, with music often thrillingly brought to life by some of the hallowed legends of the BSO’s storied past: Koussevitzky, Monteux, Munch, Leinsdorf, Ozawa, Bernstein, Previn -— the list goes on and on.
Read MoreA 19th-century Russian masterpiece presented in a translation and a production whose mishmash of style distorts the play and confuses both actors and audiences.
Read MoreArt and science rebuffed each other in this show. Visitors are unlikely to leave with either a greater understanding of cosmology or of Josiah McElheny’s art.
Read MoreTwo superb new films, “Moonrise Kingdom” and “Beasts of the Southern Wild,” revolve around children and the power of love.
Read MoreSponsored by the Harvard Writing Program and the Harvard Summer School, the event was introduced, perhaps humorously, to the audience as a “meeting of German–American relations.” In reality, it was a more of a showcase in differences about each country’s historical imagination.
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Theater Commentary/Review: A Not So Dumb “Month in The Country”
Given the Russian writer’s modernist pedigree, should director/playwright Richard Nelson and translators Richard Pevear and Larissa Volokhonsky be punished for putting some “unevenesses” into their staging of Turgenev’s finest play, “A Month in the Country”? I think not.
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