As a whole, the ICA’s presentation is limp and witless, too bogged down with shallow nostalgia to present a potent argument for the importance of vinyl.

“Nine” is a misguided adaptation, and one that runs on shallow ideas about women and relationships. Even the extravagant boas in Paul Daigneault’s production (and there are long, lush, red ones) don’t dress up the show’s dull foundations.

The Harvard-Radcliffe Dramatic Club’s (HRDC) presentation of “The Balcony” by Jean Genet, which runs through November 20 on the Loeb Mainstage, is a thoughtful production of a rarely staged play.

Toward the middle of “Trust,” this year’s Visiting Director’s Project on the Loeb Mainstage, a character analyzes the dating world. ...

If there’s one main idea pulsing throughout the newly collected reviews and essays in “The Cross of Redemption: Uncollected Writings,” it’s that the country’s transformation can only happen with words.

Lucien Castaing-Taylor and Ilisa Barbash originally planned to make a movie about rural environmentalism, but after three summers in the Montana mountains and over 200 hours of footage, they ended up with one about sheep.

Nuances add flavor to the play’s simple timeline, and the supporting cast fully exploited these. On the one hand, “Chronicles” deals with grave themes: at its heart is the potential failure of feminism. But it is also a social satire, and a very funny one.

In this book, Banville smoothly brings together unbounded ideas and weaves them in mind-bending ways, much like a mathematician might with grand mathematical concepts.

Shifting shadows welcome the viewer to “The Glass Menagerie,” Tennessee Williams’ 1944 play about family and failure.

“The Lost Books of the Odyssey,” Zachary Mason’s mesmerizing new novel, takes Odysseus’s homeward bound journey and riddles it with uncertainty.