Arts Emerson
Tragedy isn’t when evil triumphs, but when good becomes entangled in its own inevitable contradictions.
This wonder work from Canadian director Robert Lepage isn’t here for much time, alas.
Culture Clash’s view of America will discomfort, which is all the more reason that I urge you — strongly — to attend.
This exhilarating Tristan & Yseult shakes us out of our role as passive observers and reminds us of the euphoria and the heartbreak love can bring.
The Old Man and The Old Moon is pleasing, but just how theatrically satisfying it is depends on the appeal of ‘magical’ folktales, the kind where anything goes.
Isango’s Magic Flute/ Impempe Yomlingo is lit by flashes of brilliance. Most can be traced directly to Mandisi Dyantyis’ reorchestration of Mozart’s orchestral score for an ensemble of marimbas.
The tragedy of King Lear never takes hold because you know that soon someone is going to pick up an accordion and with a ‘Hey, Nonny Nonny’ dance those blues away.
“Abe Lincoln’s Piano” does not evoke in us the same sense of astonishment that Hershey Felder feels toward his antiquarian discoveries.
Pianist, actor, director and consummate storyteller Hershey Felder returns to Boston in a one-man show entitled Abe Lincoln’s Piano.
Fuse Commentary: Five Minutes With NEA Chairman Jane Chu
God speed Chairman Chu on her mission to make the fine arts less marginalized in a determinedly bottom line culture, obsessed with the pragmatic rather than the imaginative.
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