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A baker’s dozen of recordings worth hearing . . . maybe even owning.
Tennessee Williams was a prolific writer, and each season the Festival presents an unfinished play or little known work from his vast canon.
Because of the national tension between the Tutsis and the Hutus, and its effects on everyday routines in the school, this novel cannot long remain a bemusing tale of adolescent life.
Our critic’s year-end tally of the classical albums that, in looking back over 2018, stand tallest – plus a few that didn’t make the bar.
Cuarteto Casals brings out Mozart’s playfulness, Luzerner Sinfonieorchester delivers a solid Dvorak’s Sixth, and James Brawn continues to brilliantly play Beethoven’s piano sonatas.
Moppa Elliott makes eminently approachable music at a very high standard, with great ingenuity and sophistication. He has proven himself to be one of the most inventive and creative composers for small jazz ensemble since Charles Mingus.
Crescent gives us the first five songs of the I Am The Moon suite and runs about 35 minutes. Let me rephrase that: it runs about 35 perfect minutes of music.
Esperanza Spalding is not simply beyond reproach – she is a young lioness the likes of which the jazz world has really never seen before.
Zoë Anderson’s volume aims to give readers a handy way to discern the most influential ballets from among the confusing proliferation that we find in today’s repertory.
Theater Commentary: Horovitz and Sexual Harassment — Why Did it Take Over 20 Years?
Does anyone really believe that there is no sexual harassment going on in Boston area theater companies today?
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