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Leif Ove Andsnes’ excellent all-Sibelius album is nothing short of revelatory; Borusan Quartet's disc is creatively programmed and brilliantly played.
With Jon Langford, the only certainty is that there will be surprises that make it party time.
Even though Wormwood’s sound is thick and lumbering, the band is actually pretty nimble.
I love subtlety, and beauty, and trash, and terror, in equal measure.
Both Cowboys and Frenchmen and Mark Zaleski Band "groove, interact, and emote."
It is most effective when it dwells on the sad influence of history, on personal tragedy, on the banality of evil and cruel indifference.
What follows is a succession of images and tableaux static enough to make Michelangelo Antonioni look like an action-movie director.
Sometimes Pharaoh Sanders came back and played like a primordial saxophone deity, cutting into the rhythm section like an act of penetration.
Who knew that a fungi could be so inspirational?
Tom Petty managed to not only survive but thrive in the ever-changing music world.
Oscar Wilde’s life might have been tortured, but the writer never believed he had been disgraced, only rejected.
Arts Fuse critics select the best in film, dance, visual arts, theater, music, and author events for the coming weeks.
A terrifically fun -- when not spine-tingling -- exhibition of horror and sic-fi memorabilia.
Lucky is a showcase for Henry Dean Stanton’s unique talents, which primarily lie in his inhabiting roles as an amped-up or quirkier version of himself.
An outstanding production of a Stephen Sondheim musical that was initially thought to be a misfire.
The Monks were, and to some extent still are, the quintessential cult band.
Wilbury Theatre proves that an arts organization can grow while pushing an experimental agenda.
Saxon and UFO may not be 'forever young,' but their spirits still of reek of adolescence.
I will continue to watch Wenders's Pina, over and over—but nothing can replicate being in the room with the real deals.
Dana Schutz packs evocative and unexpected narratives into confined spaces, but not all of them fit as well as she thinks they do.
Warhol/Capote is a breezy, 90 minute tribute to American pop and gossip.
Local chauvinism aside, the evening was a diverse one, at least in terms of dance genres.
On the whole, this BSO Opening Night was a welcome overview Leonard Bernstein’s larger output and of his versatility as a composer.
For the past decade, Jeff Rapsis has improvised live scores for silent films starring Charlie Chaplin, Mary Pickford, and Douglas Fairbanks.
Evidently, plain-spoken language plus doubt and apprehension equates to novels that, once opened, are very hard to put down.
The Royale launches the Merrimack Repertory Theatre season with a gloriously theatrical punch to the gut.
The Gloucester Stage Company is mounting a delightful world premiere production of a superb play.
Brad Lawrence and Cyndi Freeman are planning to bring their one-person shows to Boston in the near future.
Underground Railway Theater's production of this touching and articulate play is perfectly lovely.
I asked the venerable progressive publisher New Directions to send me what it has done for literature lately. Confucius To Cummings eds. Ezra Pound and Vincent Miller. New Directions, 353 pa…