Almost magically, these characters whom we only glimpse come brightly alive, exuding sorrow, angst, joy in turn.

1959: a black family is moving into a white neighborhood. 2009: after hard times, the same neighborhood is re-gentrifying.

Ray Wylie trudges on, ever ruminating on death and glory in a dusty America of the imagination.

This strong and unusually thoughtful pop singer-songwriter is entirely unafraid to put his heart and soul on the line.

Two gifted musical comedy performers anchor the solid New England premiere of the most self-referential show around.

This well-acted, well-directed production deserves attention beyond the Martin Luther King Day celebration.

This cabaret song cycle effectively weaves art songs and show tunes together, all on the inexhaustible subject of love.

This is gritty opera, just the basics, but what crowd-pleasing basics they are.

The Christian God is a latecomer to this musical feast; perhaps he'll be seated during intermission, at the discretion of the management.

Choreographer Austin McCormick and his multi-talented troupe conjure an extravagant feast for the eye and ear – and for all ages.