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Patrick Barlow’s script and Chuck Morey’s direction of the Peterborough Players production turn “The 39 Steps” into a madcap, Marx-Brothers-style of zaniness barreling along at farce-speed until the very last moments.
Read MoreTired of glitz and looking for a transformative musical experience? You can do no better than to hear this relatively unheralded musician play some of the most sublime music ever written.
Read MoreThere’s no such thing as a free lunch, but in Boston this summer (and throughout the year) free concerts are as easy to find as upset fans at Fenway Park.
Read MoreBy using water as a lens to explore Ansel Adams’s artistry, this exhibition makes his fascination with motion and time crystal clear.
Read MoreIrving Berlin fans will be pleased to see such items as the complete Jerome Kern letter, (written in 1925!) in which Kern writes: “Irving Berlin has no place in American music. HE IS AMERICAN MUSIC.”
Read MoreAfter several years of frustrating cancellations and artistic challenges, Tanglewood and the Boston Symphony Orchestra seemed to be saying that there’s still much to celebrate. And they were right.
Read MoreNorthrop Frye, inspired by the poet William Blake, demands that the critic be a warrior in a “mental fight,” articulating the liberating value of literature as a source of imaginative energy that generates possibilities.
Read MoreThe issues raised by Mike Daisey’s infraction, his fall from grace, and now his return, are many, but chief among them is the privilege of illusion, the birth-right of the artist.
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Arts Commentary: “The New York Times” — Shouldn’t It Know the Purpose of Arts Criticism?
Based on Public Editor Arthur S. Brisbane’s recent New York Times column on arts criticism, he and others at the newspaper haven’t much of a clue regarding what a serious arts review is supposed to be.
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