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November 2018
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Review

Review

The Williams Project’s ‘A Bright Room Called Day’

by Dusty Somers November 6, 2018
Review

Has social media made Mike Daisey obsolete?

by Gemma Wilson November 2, 2018
Review

‘RE/33: 33 Fainting Spells Revisited’ traces an emotional and aesthetic dance lineage

by Kaitlin McCarthy October 31, 2018
Review

The enduring effects of ‘Oslo’

by Gemma Wilson October 31, 2018
Album of the Month

‘All On Camera’ by Sun Breaks treats nostalgia as a curio

by Jonathan Zwickel October 26, 2018
Attractive Singles

Listen! New music by Hushy, Seaan Brooks, Anomie Belle, Beverly Crusher and Cumulus

by Jonathan Zwickel October 26, 2018
Scarecrow Suggests

November video releases: ‘The Last Movie,’ ‘Take It Out in Trade,’ ‘Pioneers: First Women Filmmakers’ and ‘Skate Kitchen’

by Scarecrow Staff October 26, 2018
Review

‘The Midsummer,’ an ambitious debut from new dance company the gray

by Kaitlin McCarthy October 24, 2018
Review

Set in Stone: Majestic Northwest landscapes on view in Tacoma 

by Margo Vansynghel October 23, 2018
Review

In ‘I And You,’ a slice of teenage life

by Dusty Somers October 22, 2018
Review

A disappointing Mahler symphony at St. James Cathedral

by Philippa Kiraly October 22, 2018
Review

Calvin Gimpelevich’s ‘Invasions’ considers the body

by Afrose Fatima Ahmed October 19, 2018
Review

The come-hither kindness of ‘Come From Away’

by Gemma Wilson October 18, 2018
Review

‘Fade’ struggles to find reality in TV writing

by Dusty Somers October 16, 2018
Review

Seattle Opera presents a perfectly eerie ‘The Turn of the Screw’

by Philippa Kiraly October 15, 2018
Review

Don’t look away from ‘A Thousand Splendid Suns’

by Gemma Wilson October 12, 2018
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