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Charles Busch’s plays are informed by an obsession to playfully upend iconic film genres. This time it’s the celluloid celebration of nuns, and what a divine romp it is.
Read MoreReviewed By Caldwell Titcomb I was not able to catch Ariadne auf Naxos until the last of six performances that the Boston Lyric Opera (BLO) presented at the Shubert Theatre. By this time everything was clicking superbly—both the singers and the instrumentalists in the pit. What we got was a production that the BLO imported…
Read MoreBy Caldwell Titcomb Murray Perahia is the greatest living pianist – and you can take that to the bank. In 1974 I went to Boston’s Jordan Hall to hear a recital by the famous British tenor Peter Pears (1910-86), who would be knighted four years later. At the end of the concert it was clear…
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At 70, Marcia Ball is a non-stop pro, particularly at pacing. Early barn burners gave way to the slow blues of “Just Kiss Me.”
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For poet Elizabeth T. Gray, Jr., the neurological is also archeological.
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The pathway to tyranny is paved by encouraging people to believe in the uselessness of science, logic, and expertise.
Read MoreWhat interested me about Bitches Brew was the chance to discover how choreographer Karole Armitage re-rigs classical ballet steps.
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“Everyone involved was committed to doing something different and eclectic,” WasFest curator Don Was said. “It’s a mixed bag, and that’s what we wanted.”
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M. Night Shyamalan turns the trilogy topper he needed to make after Unbreakable and Split into a preposterous group therapy session.
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A charming rendition of Ravel serves as a perfect foil to the rigors of the Schoenberg, which, tough nut though it remains, here gets just the sort of devoted advocacy it requires.
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Holiday Commentary: Making Room for the Stranger