When Stefan and Linda Stux, with a partner, opened a gallery on Newbury Street in Boston in 1980 it was a year before they made a sale. The partner left and they continued to support the gallery while working full time jobs. His brother asked how long he intended to maintain his "museum." The answer was "forever." But now that day has come with the closing of the New York gallery after some 35 years of ups and downs. Stefan and Linda had an enormous impact during the era of Boston's cultural revolution in the 1980s.

Bruno Richard Hauptmann, the “baby killer,” the man tried, convicted and executed for the 1932 kidnapping of the Charles Lindbergh baby, is vividly personified by George Seegebrecht in City Lit Theater’s new production of Hauptmann by John Logan.

Curious Theatre in Denver is committed to plays which pack a powerful punch. White Man on a Bus is a knockout, describing the current state of race relations in the US. It is also very good theatre.

A passion for the Italian Renaissance informs the approach of the artist John Leavey. The Berkshire resident who lives and works in Pownal, Vermont is exhibiting a selection of work spanning 1963 to 2016 at Prince Street Gallery

The winery, Trias Batlle was once a bulk wine producer. Now, the 3rd generation has brought the winery into the modern day era wine production and has taken in many followers.

Our Charleston correspondent, Sandy Katz, continues with coverage of the annual Spoleto Festival. She was completely absorbed by a poignant one-man-show by the Scottish actor and playwright Gary McNair. He narrates as himself telling the tale of his colorful grandfather in A Gambler's Guide To Dying. By the end of the evening she was endeared to a colorful rascal.

Legendary country star, Dolly Parton, makes her Tanglewood debut on June 17th at 7pm in the Koussevitzky Music Shed.

Long before TV soaps made their debut in America, Henrik Ibsen was scandalizing the patrons of Europe’s theatrical stages with similar themed plays. There’ is no doubt about it. We human beings are a complicated, conflicted, and a fascinating lot. Hedda Gabler has a fresh translation for this lively production.

After Boston University decided to sell the building in which the Huntington Theatre Company has had its lovely theatre last Fall, there was a great deal of agita and even grief as to what would become of the Huntington. Would the theatre company have to relocate? Would the large structure be torn down for expensive condos? Could the City of Boston help find a development/real estate partner? Like a Deus Ex Machina, Good News has arrived with a happy ending.

During a golden age when WBCN was the Rock of Boston Mark Perenteau was a larger than life presence. A mega watt presence was the catalyst for both fame and fortune as well as scandal and demise. He died from complications following surgery at 66.

We attended the Tennessee Williams Festival in New Orleans which inspired us to participate in TWF in Provincetown in 2015. Both festivals were thrilling in presenting rare and insightful works. For the 2016 festival in Provincetown works by Williams will be paired with plays by Eugene O'Neill. His first works we created and produced by the Provincetown Players. The annual event will occur from September 22 to 25.

The Threshold Repertory Theatre in Charleston, South Carolina presented the hilarious and zany "Fully Committed" as a 2016 Piccolo Spoleto offering which was a festival favorite with sold-out performances.

Harbor Me was choreographed by Sidi Larbi Cherkaoui to the music of Extension, Park Woojae Geomugo. This music sounded agonizing like a Yiddish kvetch. The stage was mostly dark with slight illumination from lights filtered through smoke.

“tokyo fish story” is a splendid production that performs, without an intermission, on the Sheryl and Harvey White Theatre Stage and runs through June 26, 2016.

If “Feeding the Bear” doesn’t exactly break new ground, it works primarily because it’s the type of story with which many can identify. It’s a work that will make you cry one moment and laugh the next. Sometimes, you’ll do both simultaneously.

Hershey Felder has made a career of creating the great musicians of the past three centuries. His Irving Berlin is touching, witty and very American.

Cramped into nose bleed seats it was excruciating to endure the experimental opera The Little Match Girl by Helmut Lachenmann. It was a presentation of the prestigious annual Spoleto Festival USA which is currently enjoying its 40th season in Charleston, South Carolina.

Constellations, the new two-character play at Steppenwolf Theatre, is certainly a nonlinear story. Marianne (Jessie Fisher) and Roland (Jon Michael Hill) at times seem to be in parallel universes. She, an academic theoretical physicist, and he, a beekeeper.

Artistic Director Barry Edelstein continues to provide San Diego audiences with first rate theatrical entertainment. “Camp David” performs on the Donald and Darlene Shiley Stage through June 19, 2016.

Pekka Kuusisto took on the challenging Ligeti violin concerto with gusto, humor, and a quiet modesty. This was an unusual, and unusually effective combination of qualities, especially in view of the pick he took to the violin to make it into a guitar, and his beautiful whistling. David Fulmer conducted like a poet of music. John Zorn in the audience appreciated the performance of his work by the Mivos Quartet. It was another brilliant program put on by Alan Gilbert, who credits cellist Jay Chambers with suggesting Ligeti and his influence.

Our coverage of Piccolo Spoleto in Charleston continues with Nunsense at Footlight Players. Saints preserve us.

Lauren Gunderson is widely renegaded as among the best and brightest of American playwrights. She can be thoughtful and provocative. With The Taming, however, which is being given an energetic and ambitious production, the comedy of brought down as too clever, thinky and talky for its own good. It was just too difficult to connect with and care for the unmanageable characters and their absurd situations.

The latter part of The Royale which played Broadway’s Lincoln Center Theater earlier this year, features one of the strongest, most powerful scenes of dramatic tension I’ve encountered in a theater in a long while

It's observed that great operas are often based on weak plays. Not so the new opera by Gerald Barry. While Barry cut about two-thirds of Oscar Wilde's perfect play, the spirit remains. The result is more like composers taking up Beaumarchais than Johm Luther Long..

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