Former Los Angeles Times arts reporter and Salon contributor Scott Timberg profiles a sector under assault in “Culture Crash: The Killing of the Creative Class,” an expansive, provocative and at times exasperating book.
Playwright Ronan Noone has been a fixture of Greater Boston’s theater scene since 2002.
Arts and culture made a cameo appearance in the Massachusetts governor’s race late last week. Democratic gubernatorial hopeful Martha Coakley announced her arts and culture platform, and Republican Charlie Baker released his responses to a survey seeking candidates’ views of arts, culture and the creative economy.
Until recently, few readers or critics on this side of the Atlantic paid much attention to “Elena Ferrante,” the presumed pseudonym of a successful Italian novelist who has kept her identity secret for nearly 30 years.
Paul Daigneault and his then-fledgling fringe theater company SpeakEasy Stage won their first Elliot Norton Award for “Jeffrey” in 1995. Daigneault took home a Norton award for directing “Bat Boy: The Musical” and Stephen Sondheim’s “Passion” in 2003, and a second five years later for his work on a trio of shows: “Parade,” “Some Men” and “Zanna, Don’t!” He’s the founder and producing artistic director of a company that in 23 years has morphed from a scrappy startup to a medium-size ensemble known for nurturing local theater artists and staging Boston premieres.
Growing up in Dublin, author Emma Donoghue sometimes fantasized about what she would wear to the awards ceremony if she ever won the Man Booker Prize. It wasn’t an outsize aspiration for the daughter of Frances (an English teacher) and Denis Donoghue (the literary critic and Henry James Professor at New York University), who named their eighth and youngest child after Jane Austen’s “Emma.”
Company One has taken up temporary residence at the Modern Theatreat Suffolk University on Washington Street, which seems appropriate. The first Boston theater built to show film—and the first to screen a talkie, “The Jazz Singer,” in 1928 — the rejuvenated Modern offers a particularly apt backdrop for Annie Baker’s buzzed-about comedy-drama.