ON SATURDAY . . .

In review of Monkey: Journey to the West: Critic George Hubbard writes that Tripitaka, the Buddhist monk, is accompanied in his quest to find the lost sacred scriptures by the Monkey King and the monk’s horses, Pigsy and Sandy. In fact, the monk is accompanied by the monkey, Pigsy, Sandy, and a horse.

In a review of dancer Shantala Shivalingappa: Critic Eliza Ingle writes that Shivalingappa’s South Indian form of dance, the Kuchipudi, is based on a 2000-year-old treaty on dramatics, blending dance, music and theatre. In fact, Kuchipudi is based on the Natya Shastra, a 2,000-year-old treatise on dramatics.

ON SUNDAY . . .

In a feature on Monkey: Journey to the West: Writer Rob Young repeatedly refers to the director Chen Shi-Zheng by his first name rather than this last name, which is Chen. The headline — Manga ‘Monkey’ — also refers to a distinctly Japanese style of animation and comic book format.

In a review of the first Music in Time concert: Critic William Furtlanger writes that featured soloist JD Parran played an E-flat contrabass clarinet that sounded like a cross between a clarinet, bassoon and tuba. In fact, it was a contra-alto clarinet and it didn’t sound anything like a tuba.

In a review of the Boston Ballet: Critic Eliza Ingle writes that the troupe performed choreographer Jorma Elo’s Break the Eyes. In fact, the title of the piece is Brake the Eyes.

In a review of Between the Devil and the Deep Blue Sea: Critic Jeff Johnson calls it a play. In fact, there is a series of scenes with no narrative thread. More like a cabaret and stylized theater of the absurd. The headline of the review says that the theater troupe is composed of comics. Johnson also makes a comparison, weirdly, between Devil and SNL‘s “Toonces, the driving cat.”