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In Garciela Iturbide’s photographs, the living and the dying are often joined at the (exposed) skeletal hip.
The post Visual Arts Review: “Graciela Iturbide’s Mexico” —…
Diane Williams's brusque vision of a perverse life force mesmerizes.
Leonard Cohen reinforces this dedication to lyricism with striking humility in his final book.
This musical hodgepodge at the American Repertory Theater could be called 'Let’s Sing About Me (and Me, and Then More About Me).'
Producers are tapping into a specific demographic: predominantly white audiences that are flush and who crave the thrill of hearing – and seeing – their favorite tunes performed live.
This is an opportunity to take in the early stirrings of Tennessee Williams’ talent as a playwright.
Given what Olga Tokarczuk is curious about, it is not surprising that her book serves up its share of goofy humor.
The Black Clown commands the vastness of the Loeb’s stage with an enviable energy.
There are 170 recipes in King Solomon's Table . Joan Nathan, a sort of culinary archeologist, tracks down the details of their origins to Biblical times.
A newly published book of translations and two upcoming Boston-area stage productions confirms the enduring elemental power of Federico García Lorca.
Fall's conflict is presented with insufficient power; its domestic tragedy is not propelled along its inevitably troubling course.
A resplendent and spirited revival of The Sound of Music in downtown Boston.
But, amidst all this excitement, there was an undertow of concern in the crowd at this year's IRNE Awards.
In The Humans, Stephen Karam suggest that America can be a Heaven that in a moment, might flip into Hell.
“You can be certain that when the show begins and you hear 'Mack the Knife,' there will be scenes of slashing and murdering.”
Adrianne Krstansky, a marvelous actress, understandably exhibits signs of the strain of having to carry the entire production on her shoulders.
The late Larry Coen was a mainstay in Boston theater.
Despite its drawbacks, this is a powerful production that speaks to what is happening today.
When it comes to helping artists make a living, social media turns out to be a mixed blessing.
Reading Nikki Giovanni, one is inspired to never cower, to never beg, to never surrender.
The bottom line is that we simply aren't given a requisite sense of the play's embrace of tragedy.
"Both poet/playwrights wrote with the same swings between tragedy and farce we live with now in America."
Men on Boats is a sometimes rollicking, at other times tedious, one-act play.
Israel Horovitz's latest play delivers some fine moments of comedy as well as some dark revelations about female neediness.
Throughout Sam Shepard's oeuvre one can find ample evidence of his struggles with demons, some of them distinctively American.
Fresh Ink Theatre is to be applauded for taking risks, for daring to mix it all up, for giving audiences a taste of what theater, shelter-skelter version, can be.
Yes, Ripcord is candied, but there's just enough astringency blended in to make the sugar sufficiently tangy.
The talented SpeakEasy Stage ensemble offers enough harmonious pizazz to make up for the musical 's erotic fizzle.
In the remarkable images of Henryk Ross, Nazi evil is exposed through a kind of heroic voyeurism.
Grand Concourse does wondrous things: it encourages us ponder our own growth toward faith while emphasizing with the struggles of others.
This excellent film version of the play Fences meets (even exceeds) the considerable demands of August Wilson's script.