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Cynthia Nixon is a great Emily Dickinson, so deeply angry, so heartbreaking in her fool’s life of stoic suffering.
Read MoreParadise‘s central conflict and the performances in the Underground Railway Theater production are damn good.
Read MoreThe first three films I watched at SXSW this year were picked by me with the editors in mind. Not coincidentally, the editors also had pedigreed Massachusetts roots.
Read More“To me, ’67 was a year that was different from what came after it.”
Read MoreThis symphony is the finest synthesis of Leonard Bernstein’s considerable theatrical instincts within a concert framework, idiosyncratic and singular.
Read MoreThe SpeakEasy Stage production is intimate and emotionally satisfying, highlighting the musical’s strengths — its sharply witty book, memorable songs, and heartbreaking characters.
Read MoreWhile Beth Genné proffers a terrific take on dance and its social context, she exhibits a shaky grasp of musical-theater history.
Read MoreAt this time in the Boston jazz scene, there are no ongoing spaces for big bands and, predictably, the number of such ensembles has shrunk.
Read MoreSleeping Beauty needs not only to thrill us but to carry us somewhere back into its own history.
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Visual Arts Commentary: Three Temporary Public Art Pieces — A Dialogue with Art and Ourselves
Three bold new public art installations underscore the possibilities of visual and conceptual experiences in 21st century Boston.
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