The live a cappella is a result of the conditions under which the songs were originally sung: in open fields.
Dwight Rhoden’s galvanizing protest rally of a ballet takes on topical issues, while bridging popular music with arguably the most conservative form of dance.
Brooklyn drag artist Untitled Queen performance on February 17 extracted the earnest out of art.
Elevation 1049 in the Swiss Alps seeks to gather art world glitterati in the mountain town of Gstaad for a singular art festival experience.
Rather than sticking to a literalistic depiction of the woods of Fairyland, Robert Carsen sets his adaptation of A Midsummer Night’s Dream in a more symbolic land of beds.
Smith’s Black Utopia LP forms an Afro-futurist collage of sound and language, rhapsodizing on the utopian possibilities of Black space travel and astrology.
Why must we depict Black characters as eventually reconciling their contempt for whiteness with a prevailing, individual romance that conquers that disdain?
A reinterpretation of a Euripides play tells a seldom staged and lesser-known side of the famous hero.
Performed by British and Argentinian veterans, Minefield excavates the unsettling violence and futility of the 1982 war.
The playwright’s protagonist rises to the pinnacle of society only to fall back down to the housing project where she grew up.
Anthony Roth Costanzo has made it his mission to make classical music appealing to broader and younger audiences. It worked.
The Prisoner conjures a timelessness that recalls Waiting for Godot.