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As a legacy sequels “Happy Gilmore 2” one isn’t a hole-in-one, but it doesn’t roll into a sand trap either.
There are some smartly colored and well-handled performances here, but it’s hard to get past the recording’s unsatisfactory acoustics.
Theater Review: Cut and Slash Done With Panache — Lyric Stage Delivers a High-Caliber “Sweeney Todd”
To darken a story that already hinges on rape, murder, and cannibalism takes some doing, but the edgy Lyric Stage production pulls it off.
Arts Fuse critics select the best in music, theater, visual art, and film that’s coming up this week. A new feature!
Working within the forms perfected by Haydn and Mozart, Beethoven early compositions managed to say some things that remain compelling to hear.
If the show had its format tweaked a little bit, it might hit a sweet spot: somewhere between “The Daily Show”’s investigative reports and Conan O’Brien’s zanier segments.
Pro Wrestling Company Ohio Valley Wrestling is the little train that could and knows that it can.
Iridescence is a masterful set, with none of the tentative feeling …he bipped when he should have bopped …that sometimes afflicts free jazz outings.
The Berklee Contemporary Symphony Orchestra sought bravely to straddle the jazz and classical worlds with a little help from some star soloists.
It turns out that it was more than just a rumor that saxophonist Charles Lloyd spent some of the ’70s playing with The Beach Boys.
The 20th Annual Francis Davis Jazz Critics Poll: The Institution Continues