Cameron Kelsall
Sondra Radvanovsky eschewed the customary stuffiness of the recital format, often speaking directly to the audience and putting her selections in a highly personal context.
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Trouble was afoot from the first selection onward.
Countertenor Aryeh Nussbaum Cohen‘s star is surely on the rise.
Cost of Living, the Pulitzer Prize–winning play by Martyna Majok now on Broadway, overflows with complexity. It begins with the title.
People turn up at a cancer hospital on the worst day of their lives. In I’m Revolting, a moving and often unsettling world premiere from Atlantic Theatre Company, playwright Gracie Gardner dissects the fears and motivations of patients and their caregivers with surgical precision.
The smile for the fools is especially broad this summer in the Berkshires, where a charming revival of A Little Night Music opened recently at Barrington Stage Company.
A trip to Mediterranean climes came through musically, as the Boston Symphony Orchestra presented a largely satisfying concert performance of Don Giovanni on July 16.
People’s Light deserves commendation for resurfacing The Vinegar Tree, and there’s satisfaction in seeing a fine old play handled with care.
Zachary James builds on his early career experience as a musical theater performer to deliver a thoughtfully crafted, blessedly restrained Quixote/Cervantes.
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If you missed Amour during its Broadway premiere 19 years ago, you’re not alone.
All in all, Mahler’s ethereal evocation of the natural world, and the world beyond our own, is becoming old hat.
Over the course of 700 pages, Alex Ross exhaustively—and sometimes exhaustingly—examines an impact that began in the Wagner’s own lifetime and continues unbroken today, with references cropping up in contemporary works as different as The Matrix and Curb Your Enthusiasm.
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Little Shop of Horrors loses its necessary edge when it’s wrested from the gritty world of its creation.
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