Posts
“A Man of No Importance” is a fitting finale for Paul Daigneault’s tenure as Artistic Director of SpeakEasy Stage Company because it is a paean to the power of theater as both an artistic expression and a place to discover community.
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A review of two fine backstage (or offstage) comedies at the Berlinale — “Blue Moon” and “Koln 75”.
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“Fable for the End of the World” reflects our own uncertain condition — there are possibilities unknown, alternatives that even would-be godlings like Elon Musk and his ilk have not accounted for.
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In “Justice Abandoned”, Rachel Elise Barkow argues that much of the blame for the blight of American mass incarceration lies with the Supreme Court.
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For poet Elizabeth T. Gray, Jr., the neurological is also archeological.
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Minor White’s autobiographical undertaking lacks diaristic narrative. There’s too much neurotic navel-gazing too much of the time. Yet it is very appealing as a twisted personal miscellany whose contents range from summaries of sex dreams to snarky letters that were never sent.
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Our expert critics supply a guide to film, visual art, theater, author readings, and music. More offerings will be added as they come in.
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Playing side-by-side on two different pianos facing in opposite directions on the Symphony Hall stage, Vikingur Ólafsson and Yuja Wang were as complementary, in a flavorsome way, as lemon and chocolate.
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Gene Hackman’s legacy will never fade, and now, with his passing, many filmgoers may finally appreciate the enormity of his talent and the enduring impact of his work.
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Arts Remembrance: Tom Robbins’s “Joy in Spite of Everything”
In his writing, in his life, and in his fun, generous, and winsomely wise spirit, the late — but never late for a party — Tom Robbins chose to feel “ridiculously fine” and wanted us to feel the same way.
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