Playwright Lindsey Ferrentino apparently felt the urge to inform audiences just how disparate are families and their need to share their ubiquitous stories with the world at large. Television has been the delivery system that best gets the comedy job done. Sitcoms have mastered the medium for more than 70 years. . But I’m not quite sure that Ferrentino’s comedy play “The Year to Come” is the vehicle to bridge so many gaps facing our ever changing society.

Steppenwolf Theatre is staging La Ruta, an important world premiere play by Isaac Gomez, based on his own research on the women of Cuidad Juarez, played by an eight-member all-female Latinx cast. Sandra Marquez’ careful direction recreates the work and home lives of these women—and the dangers they live with—in a powerful, emotional way.

A Time for Hawking is a brisk-moving, well-explicated educational primer in the form of an involving comedy/drama. The playwright, Bruce Coughran, who also directs, has selected three contrasting characters whose real lives would intersect in significant ways. He has deftly integrated a panoply of scientific and philosophical milestones into their conversation.

Alvin Ailey American Dance Theater is celebrating its 60th Anniversary. An improbable start at the same time the civil rights movement was heating up has led to the company's pre-eminent position in dance. Audiences are of all hues and all ages. This year has concluded at their City Center home in New York.

During a 1972 week in Copenhagen I had an aquavit infused, acid trip lunch with bop, tenor sax player, Dexter Gordon. He had lived in Europe for a decade and was relatively unknown in the States. Four years later he returned with a well staged comeback. He signed with Columbia, was featured in major festivals, and toured relentlessly. He performed an Oscar nominated role as the lead of the 1986 film “Round Midnight” by French director, Bertrand Travernier. The publication of “Sophisticated Giant: The Life and Times of Dexter Gordon” (University of California Press, 2018) by his wife Maxine Gordon jogged memories of close encounters with a consummate hipster.

This is list is based on shows I saw in 2018 – they may have opened officially in December 2017 and some current shows I’m not seeing until January. (Specifically Ferryman and To Kill a Mockingbird).

Saxophonist & composer Lucas Pino has released a title that even in the creative jazz world needs some explanation. “That’s a Computer,” released in the fall of 2018 with his 10-piece jazz band No Net Nonet, takes its title from a comment made by one of Pino’s’ professors at the Julliard School.

For those that loved Clueless, the 1995 cult movie starring Alicia Silverstone and Paul Rudd, watched the TV series (1996-99) based on the film, and perhaps read all twenty-one of the Cher young adult books, well, Clueless is back on stage, Off Broadway.

I discovered Brecht many decades ago, when I was just becoming a theater lover. I’m not sure I had ever heard of Bertolt Brecht when I saw what has become one of my favorite plays—The Resistible Rise of Arturo Ui—at the renowned Tyrone Guthrie Theater in Minneapolis. It was 1968 (I had to look that up), one of the first years of the Guthrie’s existence.

Caleb Teicher is no stranger to Jacob's Pillow. This summer he will perform More Forever, which had its world premiere at the Guggenheim Museum in New York this weekend. It is a glorious piece developed in collaboration with pianist, composer and actor Conrad Tao.

Festival stresses regional theater's importance in developing plays. Audiences learn they become "artists" during the process. Palm Beach Dramaworks' New Year/New Plays Festival launches with panel, staged readings.

From 1968 to 2000, first on WBCN and then for the last five years with WZLX, Charles Laquidara was one of the most beloved, outspoken, and controversial DJ’s during a golden era of counter culture in Boston. At his prime he was one of America's most influential, top rated DJ's. We dicussed his unique career during two lengthy calls to his home in Maui.

Ellen Reid has an unusual knack for drawing the colors of emotion from an orchestral ensemble and the human voice. Aware of this talent, the composer chooses to present a story with an emotional rather than a narrative arc. The rolling premiere of her new opera, Prism, is presented at LaMama in New York.

Dexter Gordon (February 27, 1923 – April 25, 1990) with Billy Ecskstine bandmates, Charlie Parker, Dizzy Gillespie and Art Blakey, was an innovator of bop during the 1940s. There is evidence of his early playing on Dial and Savoy, three minute, 78 rpm recordings. Through addiction and incarceration his career languished in the 1950s. From 1962 to 1976 he lived primarily in Copenhagen. With his wife and manager Maxine, the author of a detailed biography, he staged a comback in 1976. That was capped by an Oscar nominated performance in the Bertrand Tavernier film Round Midnight (Warner Bros, 1986).

Lope de Vega is considered Spain’s second most important author, following only Miguel de Cervantes, author of Don Quixote. De Vega is said to have written 500 plays, 3000 sonnets, seven novels and novellas.

Julia Bullock is a young soprano who is designing a career to her personal specifications. Peter Sellars was attracted to her voice and performance after a Julliard college appearance as the young Vixen in Leoš Janá?ek’s Cunning Little Vixen. He lured her to Teatro Real in Madrid to perform in Henry Purcell’s “The Indian Queen.” She has performed in his work in San Francisco, and this summer took on the role of Kitty in “Dr. Atomic” at the Santa Fe Opera. She is now Artist in Residence at the Metropolitan Museum of Art.

Toscanini is the subject of Maestro, now playing at the Duke Theater in New York through February 6. Eve Wolf has staged Toscanini’s late life, mixing in live music that he often performed, now played by a quartet and pianist on stage. Director Donald T. Sanders has woven these elements together to provide the texture of Toscanini’s life.

Playwright Will Eno seems to want us to sympathize with these four people but none of them are fully drawn characters.

Why do women make self-defeating decisions when virtually certain of the dark consequences? These are among the questions explored in Sarah Treem’s entertaining and sometimes surprising When We Were Young and Unafraid.

Angelika Jansen was lucky enough to experience many aspects of the '100 jahre bauhaus' (100 Years of Bauhaus) celebrations, from January 16-24, as she writes in her following article. Architecture and culture in the 20th Century were greatly influenced by works and activities of many members of an 'institution' that only lasted 24 years - and the Bauhaus impact lives on.

Communication is the theme of SongStudio. Renee Fleming has gone for the jugular in addressing the problem of song’s survival. How do singers communicate with an audience so people want to come and hear them? Master classes with Nico Muhly and Piotr Beczala provided assurances for the future of the song.

There will be four plays by Shakespeare. Contemporary plays include Pulitzer Prize finalist The Waverly Gallery by Kenneth Lonergan; Tony Award nominated play The Children by Lucy Kirkwood; Pulitzer Prize winner Topdog/Underdog by MacArthur Foundation Fellowship recipient Suzan-Lori Parks; and Time Stands Still by Obie Award winner Donald Margulies.

The conductor Cornelius Meister is a fast-rising star in Europe. Having just finished a lengthy run at the helm of the Vienna Radio Symphony Orchestra, he is now the music director o the State Opera and the State Orchestra in the German city of Stuttgart. On January 30, Mr. Meister will make his debut at the Met. His task: conducting one of Mozart's finest and darkest operas: the deliciously twisted Don Giovanni. This week, Superconductor found time to sit down with the maestro to talk all things dramma giocoso.

Threads of Strindberg's Creditors are woven into later hostile relationship dramas from Ibsen’s Hedda Gabler to Albee’s Who’s Afraid of Virginia Woolf. Indeed, Strindberg publicly accused Ibsen of basing Hedda on Tekla

As a junior at Boston University, John Sdoucous, worked with George Wein promoting the Newport Jazz Festival launched in 1954. By 1968 he was booking Summerthing for the City of Boston. He got Janis Joplin on stage at Harvard Stadium in 1969 and launched Concerts on the Common in 1970. He continues to book concerts and festivals all over America. For Sdoucos it all started in Boston.