The Lyric Stage Company’s The Little Foxes is taut, tense, and eerily reflective of our own uneasy, pernicious times.
In Garciela Iturbide’s photographs, the living and the dying are often joined at the (exposed) skeletal hip.
Mary Oliver’s poetic vision reaches back to the American transcendentalists: it encourages us, by demanding that we pay attention to our now threatened natural world, to find a moral compass.
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.