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Critic’s Pick
Does ‘Disrupt!’ disrupt? A few thoughts on Ram’s Head’s original musical
Madelaine Bixler
•
June 5, 2017
An American bard in Britain: Bob Dylan in concert
Nick Burns
•
June 3, 2017
‘Purple Cloud’ shines as it explores the struggles of mixed-race identity and experience
Elizabeth Gerson
•
June 2, 2017
The Mountain Goats’ ‘Goths’ ditches the guitar and finds light in dark places
Nick Burns
•
June 1, 2017
‘No Hero’ at Roble Gym is ‘a multimedia masterwork’
Alli Cruz
•
May 25, 2017
An evening with Daveed Diggs at Dinkelspiel
Carlos Valladares
•
May 25, 2017
‘Autobiography of a Terrorist’ seeks to redefine preconceptions, misconceptions and reality
Olivia Popp
•
May 25, 2017
Zedd dazzles Stanford at Frost
Trenton Chang
•
May 24, 2017
‘Chuck’ wishes it were ‘Rocky’
Amir Abou-Jaoude
•
May 23, 2017
Perfume Genius’s ‘No Shape’ is the sound of hard-fought serenity
Jacob Nierenberg
•
May 21, 2017
Caleb Nott of Broods on movements that make you move
Trenton Chang
•
May 19, 2017
Act naturally: Billy Wilder’s ‘The Apartment’ at the Stanford Theatre
Carlos Valladares
•
May 19, 2017
A tale of two sisters: ‘You for Me for You’ questions truth and reality in North Korea
Olivia Popp
•
May 19, 2017
Quel grit! ‘Breakfast at Tiffany’s’ at the Stanford Theatre
Carlos Valladares
•
May 17, 2017
Mac DeMarco does dad rock his way on ‘This Old Dog’
Jacob Nierenberg
•
May 17, 2017
Who said classical music was boring?
Maimi Higuchi
•
May 16, 2017
Getting raw and real with the season two finale of ‘Crazy Ex-Girlfriend’
Olivia Popp
•
May 15, 2017
BLACKstage’s ‘Ragtime’ reverberates with hope and strife
Alli Cruz
•
May 14, 2017
Three years in the making: ODESZA drop singles from upcoming album
Trenton Chang
•
May 12, 2017
The next thousand miles: Vanessa Carlton in concert
Jourdann Fraser
•
May 9, 2017
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