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Director Gus Kikkonen and cast come up with a bright, literate presentation of William Shakespeare’s play “Measure for Measure,” a potentially dark comedy pregnant with power.
A busy month in New England, with at least two classical music traditions kicking off the season in Boston: Longy School of Music’s free SeptemberFest and Fenwick Smith’s 35th annual flute recital at Jordan Hall (Sept 4 @ 3p.m.).
Each of the paintings in Anne Leone’s Cenote Series shows the water’s surface, always from below. The world of air is invisible to us, off limits, mysterious. This membrane between worlds appears closed, but is easily pierced by the swimmers, resealing itself each time they rise and plunge.
An alternative to the New York Times’ review of “Porgy and Bess” at the Tanglewood Festival.
9/11 has inspired a number of movies and TV documentaries, but theater works about the event are rare. What are dramatists and theater companies afraid of?
I wouldn’t be writing this review or asking you to read this book if I didn’t believe that McLane were up to something far more radical and also far more difficult to reckon with—something I am not even sure I can account for. The most significant quality of the poetry in “World Enough” is a profound and unapologetic ambiguity.
Thought to be lost, the only existing print of NATHAN THE WISE was discovered in Moscow in 1996. The Coolidge Corner Theater is screening a tinted and beautifully restored version of the film, with an original score by Aaron Trant performed live by the After Quartet.
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