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Choreographer Heather Stewart’s use of the stage space, while not “immersive” by the standard art world definition, is inventive and meaningful.
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Director Jamie Lloyd’s loud and brash revival is all sound and fury, signifying nothing.
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It is a great gift that the Gardner Museum has made such a strong and lively exhibition, presented exclusively in Boston, devoted to Manet.
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“The Old Country” is a wonderful addition to the Keith Jarrett discography. There are no stale leftovers here — this album adds a whole new course to the pianist’s extraordinary banquet.
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This week’s poem: Serhiy Zhadan’s “What was supposed to happen”
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“My goal is to play these wonderful venues and also be close to home so I can have time in the morning with my daughter. I marvel at living in New England.”
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The performance of the Jerusalem Quartet was marked by considerable poise, polish, and personality.
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Memory – elusive and essential, tormenting and inescapable – serves as a theme for several of the documentaries in this year’s BJFF.
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Just weeks apart, two different groups have made their way to Boston on international tours – without Robert Fripp but with his blessing – their shows focusing on a specific era of King Crimson’s existence.
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Saturday’s finale of a two-night Roadrunner stand, the Dresden Dolls’ first Boston shows since 2017, raged as a celebration of camaraderie and catharsis.
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