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Top Girls’ conflicts and political themes seem more relevant than ever in this excellent production.
The Villains’ Supper Club supplies an engaging and funny twist on the superhero mythos, plus a smart, refreshing look at the tribulations of working mothers.
The script is symptomatic of the Trump era: a passionate rejection of the “politically correct” pushes warriors for “freedom,” as well as voices of radicalism, into morally despicable positions.
The Birringer Duo’s disc is a terrific, engaging release, The Colin Currie Group’s performance is nothing short of a powerhouse, and pianist Liza Stepanova plays with lots of character and color.
For me, the experience of watching Roseanne is annoying and unpleasant.
The Boston Symphony Chamber Players gave a very satisfying performance of eclectic musical material.
Peter Oundjian and the Royal Scottish National Orchestra deliver a great album, smartly programmed and played to the hilt. Leonard Bernstein’s live Mahler was often electrifying; this performance, even with some cracked notes and hairy transitions, certainly is.
As part of its 150th anniversary celebration, NEC commissioned Anthony Coleman to compose a large-scale work he has named Streams.
Nausheen Eusuf’s deep affection for language and sound is omnipresent.
A wide-ranging slate of documentary features on display in this year’s Independent Film Festival Boston. Here’s a sampling of a few of the standout films coming up.
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