The Huntington Theatre’s production, which runs until May 1 at the Boston Center for the Arts, cannot overcome the deficiencies of Karam’s source material despite technical excellence and a pair of standout performances.

Watching the five Oscar-nominated live-action short films in succession—as they are being shown at the Institute of Contemporary Art on selected days this spring—is quite the schizophrenic experience.

As the plot thread becomes steadily more tenuous during the second act, “Kashmir If You Can” is more than ably held together by a talented cast and the inspired comic stylings of the writing staff.

Why, Hollywood? Why?

“Four Lions” doesn’t shy away from controversy, presenting a world in which the terrorists seem no worse than any other character.

Theater confronts philosophical issues of artistic representation.

Neither vitriolic punk nor fully-fledged rock, they combine elements of both, and the most frequent result of this amalgamation is a peculiarly limp version of the former.

Walking into “The Rocky Horror Show,” the musical upon which the infamous cult film, “The Rocky Horror Picture Show,” is based, audiences more or less know what to expect: silly names, comedic horror, and blatantly sexual songs and dance numbers.

Nobody expected the supposedly lesser half of hip-hop duo Outkast to lead the fight against monotony in major-label hip-hop, but with “Sir Luscious Left Foot: The Son of Chico Dusty,” that’s exactly what Big Boi accomplishes.

After years of balancing dream pop, noise, and spaced-out electronica, this is Caribou’s dance record.