This stage adaptation of Mary Shelley’s classic horror novel earns its keep, writes David Greenham. The production at the @Merrimack_Rep is provocative, well acted, and completely engaging.

David Daniel on "The Absinthe Forger" (@melvillehouse). For the absinthe-curious, wondering about those who spend their lives fanning the Green Fairy’s original “spirit,” Evan Rail's enjoyable book will provide a mildly hallucinogenic sip.

@pkeough1 writes that, in director Steve McQueen's "Blitz", chaos can be a scary but exciting adventure, as tragedy and trauma mingle with the magic of a fairy tale.

Debra Cash writes that choreographer Heather Stewart’s use of stage space in little house dance's "Noisefloor", while not “immersive” by the standard art world definition, is inventive and meaningful. With Palaver Strings.

The magazine's expert critics supply a select guide to film, visual art, theater, author readings, and music. More offerings will be added as they come in.

Christopher Caggiano writes that director Jamie Lloyd’s loud and brash Broadway revival of the #AndrewLloydWebber musical "Sunset Boulevard" is all sound and fury, signifying nothing.

"The Old Country" (@ECMRecords) is a wonderful addition to the #KeithJarrett discography, writes Steve Feeney. There are no stale leftovers here — this album adds a whole new course to the pianist’s extraordinary banquet.

@AaronKeebaugh on @celebrityseries's presentation of a concert featuring the Jerusalem Quartet -- it was a performance marked by considerable poise, polish, and personality.

@glennrifkin talks to @hannekecassel, an award-winning Scottish and Cape Breton-style fiddler and composer, a featured local solo artist and ensemble player for more than two decades. She will soon begin a brief (three stop) tour around the Boston area.

This week’s poem: Ukrainian poet Serhiy Zhadan’s “What was supposed to happen”

Paul Robicheau writes that Saturday’s finale of a two-night @roadrunnerbos stand, @DresdenDolls' first Boston shows since 2017, raged as a celebration of camaraderie and catharsis.

Just weeks apart, writes @JasonMRubin, two different groups -- The David Cross Band and Beat -- have made their way to Boston. Without #RobertFripp but with his blessing, their shows focused on a specific era of #kingcrimson’s existence.

For @pkeough1, memory – elusive and essential, tormenting and inescapable – serves as a theme for several of the documentaries in this year’s @bostonjfilm Festival.

@_neil_giordano_ offers his thoughts on this year's #GlobeDocs festival. The event recently celebrated its 10th anniversary , screening a wide-ranging sample of 2024's most anticipated documentaries.

For Helen Miller, Beaux Mendes’ work piques the same interest in us as our information-hunger. But, set loose from any hope of a grounded truth, it leads to endless searching. At NYC's Miguel Abreu Gallery through November 9.

Trevor Fairbrother writes that the @mfaboston 's show "Georgia O’Keeffe and Henry Moore" builds a case for two artists that many are inclined to think of as “unlikely bedfellows.” Brava!

Daniel Lazare argues that, in tracing the tortuous path that established historians took in trying to get to the bottom of WWI, Perry Anderson doesn’t acknowledge left-wing observers who knew perfectly well what was going on at the time. @VersoBooks

@jonblumhofer writes that the performances, conducted by Klaus Mäkelä, on this @deccaclassics disc exhibit no conception of Dmitri Shostakovich’s style – where is this music’s irony and sarcasm, let alone pathos?

Not all of conductor @nathstutzmann's ideas about Dvorak’s Ninth Symphony add up, writes @jonblumhofer, but there is not much to argue with in @SemyonBychkov1 's take on Dvorak’s Seventh, Eighth, and Ninth Symphonies.

Roberta Silman on two novels by Maine author Shannon Bowring, Writer (@EuropaEditions ). This is a wonderfully wise and compassionate writer, exquisitely alert to the varieties of human experience that exist at the end of the 20th century.