Arts

Rich in subtle references to Shakespeare's King Lear, Chekhov's Cherry Orchard, Beckett's Endgame and Parini's The Last Station, Leaving is as engaging, caustic and clever as any of Václav Havel's classics. It's gentler, too.

It seemed believable at first blush, but sticklers pointed out the flaws. The clouds cast no shadow on the ground. They didn't reflect in the water. The scene didn't seem real, exactly.

Calling MOMIX a dance company just doesn't do it justice.

From the department of Things That Make Us Feel Dumb: Eli Horowitz and Mac Barnett's The Clock Without a Face looks like a children's book.

Immigrants in America often seem trapped in a sort of purgatory. Puerto Rican-born, Philly-based artist Roxana Pérez-Méndez explores that in-between existence in work that itself teeters between opposing states.

Theology has never been so wickedly fun.