Two Bands Nurtured in a Garden State of Mind
By JON CARAMANICA
New albums from Titus Andronicus and the Pharmacists are infused with a sense of New Jersey identity.
Owen Sejake, left, and Sean Taylor, rehearsing the new play, in which Mr. Taylor’s character searches for a black woman’s grave.
Athol Fugard, the South African playwright, is back telling stories shaped by his country’s tormented racial history. His new play will have its premiere at a theater named in his honor.
In “This Progress,” a work by Tino Sehgal, visitors were ushered up the spiral ramp by series of guides who asked them questions related to the idea of progress.
New albums from Titus Andronicus and the Pharmacists are infused with a sense of New Jersey identity.
The Lifetime movie “Who Is Clark Rockefeller?,” which makes its debut on Saturday night, is about a German man who fooled flocks of Americans with his invented personas.
Liz Gerring’s “Lichtung/Clearing,” at the Baryshnikov Arts Center, puts a video set to good use. But it’s the dancing and choreography that make this work exceptional.
The Kronos Quartet performed a program of Terry Riley’s music at Zankel Hall on Thursday evening.
“Dear Emissary, ...,” a new dance-theater work at the Chocolate Factory in Queens, escapes neat associations to float in its own strange in-between logic.
Gilberto Gil’s trio meticulously sketched the sound of much larger ensembles at the Nokia Theater on Thursday night.
Kathryn Bigelow’s two-fisted win at the Academy Awards has helped dismantle stereotypes about what types of films women can and should direct.
The most striking thing about “The Runaways,” a new film about the trailblazing bad-girl rock band from the 1970s, is how authentic it feels.


On this week’s Popcast, a review of the new CD by Broken Bells, a collaboration between Dangermouse and James Mercer of the Shins, plus a preview of the bands and parties at this year’s SXSW festival.
American composers discuss the challenges of creating “classical” music in the 21st century.
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