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In India, dosas are cooked on a griddle in the street, as well as in restaurants and homes. As street food goes, the dosa gets high marks. It’s not junk, and it tastes great. The Dosa Factory in Central Square, subtitled “Indian Street Food,” is a hole-in-the-wall–not for an evening of food and talk. But that’s not what street food is. It’s a quick fix, and for these purposes, it’s about as good as it gets.
In this dreamworld, the politics don’t matter. It’s the artfully gruesome spectacle that counts — that and the hackneyed Hollywood storyline about the hardened veteran mentoring the neophyte through an initiation into the harsh realities of the profession.
A hero of his times: celebrating Latvian pioneering documentarian Juris Podnieks.
The charmed trifecta of John Adams, Yuja Wang, and Gustavo Dudamel produced a hit, at least to this Boston audience.
Watershed is an unadorned but stunning addition to the offerings at the deCordoba Sculpture Park and Museum.
The Boston Ballet II program was a miniature survey of classical ballet history, a perfect challenge for apprentice dancers.
Debra Wise’s stellar turn is not only a reflection of her long stage career, but a testament to the breadth of her experience.
Curious Sound Objects showcases works that sit at the intersection of art and science as well as aesthetics and technology.
Updated Aug. 9 at 3 p.m. In the second week of August, the power of percussion is much in evidence, with Mikael Ringquist and Marcus Santos, Manolo Mairena, Gary Fieldman, and Vicente Lebron. New Orleans adds some flavor with Christian Scott and Galactic, and Berklee Summer in the City just keeps rolling along.
Kevin Young’s poetic line is generally on the concise side, generating a pithy, earthy, evocative quality that hovers somewhere between the haiku-like jazziness of Robert Creeley and the delta blues of Son House or Skip James.
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