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Circles Around the Sun has established a distinctive niche within the expanding universe of “Grateful Dead as genre,” appealing to the core audience for Dead music without having to pull songs from the group’s songbook.
Perhaps the book’s most impressive accomplishment is to make a kind of systematic case for Leonard Bernstein’s larger compositional output.
Cheryl McMahon is quietly spectacular as Ida, who tries desperately to conceal her cognitive decline behind a wall of egocentric cheerfulness that borders on the frantic.
It was as if the pianists were performing in a small drawing room for a few friends, not at Jordan Hall.
The Lodge suggests that our money, social privilege, and carefully-crafted stability are not enough to keep the wolves from the door, or to protect us from the dangers that lurk indoors.
There’s hardly a minute in this hour-long show that isn’t stirred by singing, clapping, stomping, and drumming.
The stories in Citrus exhibit a powerful commonality: these portraits of th3e experiences of black women suggest that, over time, everything and nothing has changed.
The band has tackled the Trump era with an urgent political edge on two recent albums that have surely lost them a share of good ’ole boys who were part of earlier audiences.
Composer Steve Lampert wrote “Zigsaw” at the request of saxophonist Noah Preminger, whose group recorded it for one of 2019’s most provocative albums.
Visual Arts Commentary: Museums are Getting Woke for Real
By digging deep into Thomas McKeller, the Gardner Museum has not only resurrected a lost figure (and lost music, and “lost” art) but revealed and contributed to an ongoing history.
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