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The past weekend’s Orpheum show — sold out for weeks beforehand, and drawing an impressive range of multi-generational hipsters — wasn’t the same old thing for The Pixies.
There can be no doubt that Malevich was right, and that since February 1914 reason has played a distinctly subordinate role in human affairs, including art.
Arts Fuse critics select the best in music, dance, film, and theater coming up this week.
We do feel Charles Dickens’s heart tenderly beating, swept away by Nelly Ternan’s poised beauty, and it’s touching in an almost Chekhovian way, his being smitten by a love which can only bring sorrow.
We become increasingly aware that we are in the mind of a doctor who has taught himself to observe carefully, who has an amazingly strong will to survive, and who chooses not to waste precious time and energy on anger or revenge.
The singing in the SpeakEasy Stage Company production is strong throughout; it’s easy to get caught up in the sheer pleasure of such a variety of voices.
In nearly 78 minutes of intensely concentrated playing, Jane Ira Bloom’s album offers some of the greatest ballad performances I have ever heard.
Bruce Springsteen’s “High Hopes” is a collection of covers, reinventions, and new recordings of odds and ends that have been kicking around for the past decade-plus.
“Criticism will always have the force of the child in the story about the emperor’s new clothes, because there will always be naked emperors who everybody says are wearing today’s Crown Jewels.” — Eric Bentley
Movie Commentary: Handicapping the Oscars
The nominees for Best Picture are a deserving lot, except for “The Wolf of Wall Street,” which is a bloated mess of a movie that is an hour too long .
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