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Guides
Boston has 6 Nutcrackers this December, including one in French and one set in downtown Boston
The Nutcracker that Boston knows by heart owes its gentle story to France. As the French Library explains, E.T.A. Hoffmann's original tale was dark and complicated, and Alexandre Dumas, the author of The Three Musketeers, retold it in 1844 as the fairy tale that became Tchaikovsky's ballet in St. Petersburg in 1892. This December that story shows up all over Greater Boston in six very different versions. One is a full classical ballet with a live orchestra, one moves the party to present-day downtown Boston, one is narrated in French for kids, one swings to Duke Ellington, and one comes to town for a single night with acrobats and giant puppets. Here's when and where each one plays, what tickets cost where the venue lists a price, and which ones are made for kids. The big one runs Friday, Nov. 27 through Thursday, Dec. 31 at the Citizens Opera House. Mikko Nissinen's production premiered in 2012 with hand-painted sets and more than 350 costumes made in Massachusetts and designed by Robert Perdziola. The Boston Ballet Orchestra plays Tchaikovsky's score at every performance, and 83 students from Boston Ballet School dance alongside the company. Plan on about two hours with one intermission, and dress in layers, because the company keeps the theater warmer than usual for the dancers. Boston Ballet says it is the only official seller of tickets, so buy from its site. Groups of 10 or more can save up to 35%, and there is a sensory friendly performance designed for neurodiverse guests and anyone with sensory sensitivities. José Mateo Ballet Theatre brings its 38th annual Nutcracker to the Strand Theatre from Saturday, Dec. 5 through Sunday, Dec. 20. More than 100 kids ages 6 to 18 dance with professional guest artists every year, and Boston Magazine named it Best Family-Friendly Show in Best of Boston 2020. Mateo choreographed this version to Tchaikovsky's score in 1988, and the company bills it as affordable. Anthony Williams' Urban Nutcracker sets its winter scenes in present-day downtown Boston and blends Duke Ellington with Tchaikovsky. Classical ballet is the base, with tap, hip hop, flamenco and jazz mixed in. It plays the Boch Center's Shubert Theatre from Saturday, Dec. 12 through Sunday, Dec. 20, with 10 performances including weekend matinees, and tickets start at $29 at the box office. The touring Nutcracker! production is in town for exactly one show, Friday, Dec. 11 at 7 PM at the Boch Center's Wang Theatre. Now on its 33rd annual tour, it adds acrobatics and larger-than-life puppets to the ballet. Tickets start at $66 at the box office. On Wednesday, Dec. 9, the Arpeggione Ensemble plays a miniature Nutcracker at the French Library on Marlborough Street. Thomas Carroll's arrangement fits Tchaikovsky's full orchestral score into five musicians playing many more than five instruments, with narration in French from Dumas's version, English subtitles and projected illustrations, so kids can follow along even if they don't speak a word of French. Doors open at 5:30 PM for a holiday craft atelier for kids and families, the concert starts at 6 PM, and light refreshments follow. Tickets are $30, or $24 for members and French Library students, and kids under 14 get in at no charge with an adult. Berklee's Holiday Spectacular on Tuesday, Dec. 8 at 8 PM is a two-part night at the Berklee Performance Center on Massachusetts Avenue. The Gen-Next All-Stars open with arrangements of holiday songs, then the Diamond Cut Big Band plays Duke Ellington's Nutcracker Suite, his big band take on Tchaikovsky's music. The box office at 136 Massachusetts Ave. is open noon to 6 PM Tuesday through Friday, plus two hours before the show.
5 Boston bars for a hot toddy crawl
The first cold night in Boston is a reminder that pumpkin beer is not a winter strategy. Order something hot, strong, and made by someone who cares. These five stops, four with booze and one without, split into two walkable legs. Do both in one night if you like, or treat them as separate evenings and skip the long gap between Kendall and Fort Point. Start in Davis Square, then cross into Kendall. The walks are short. The drinks get less classic as you go. Batifol is where you should eat something before the toddies add up. Foundry on Elm is the purist stop. Their Hot Toddy is a clean, balanced classic of bourbon, lemon, honey, and clove. Nothing clever. Just done right. If someone in your group wants mulled wine or an adult hot chocolate instead, Foundry carries those too, including non-alcoholic versions. Start here at 255 Elm Street in Somerville, then head toward Kendall on the Red Line or a short rideshare. State Park sits downstairs in One Kendall Square, in the Alexandria Plaza lower level. It is the dive bar with the toddy nobody expects. The Hot Hibiscus Toddy mixes apple brandy and Bénédictine with pomegranate, hibiscus, ginger, and lemon, served steaming. Tart, bright, and stronger than it looks. This is the drink that turns the crawl from classic to interesting. Five minutes away at 291 Third Street, Batifol is full Paris brasserie mood. Order La Folie Douce, a hot drink of whiskey and Drambuie with maple syrup, lemon, and orange juice. It is a toddy in everything but name. Stay for the onion soup. If you want a second winter warmer, Batifol also pours L’Après Ski, a hot red-wine drink with brandy, citrus, apple, and spice. Five toddies is not a dinner. Eat here before you keep going. The second leg sits on the other side of the river. Uber the gap, or save it for another night. Matria is the pause for anyone skipping alcohol. The Envoy rooftop is the finale once the winter igloos are up. Matria, inside the InterContinental Boston at 510 Atlantic Avenue, is the non-alcoholic pick. The Twilight Toddy has no booze at all. It is built on lemon and honey with chamomile and cinnamon. Bring the friend who is not drinking, or take a break mid-crawl. The room looks out over the waterfront, which helps when the first leg has already done its work. No hangover from this round. From here, the walk to the Seaport is short. Rooftop at The Envoy is the finale, but time it for winter, when the heated igloos go up seven floors above the harbor at 70 Sleeper Street. Igloo seats are reserved, usually for small groups of about four to eight, and they go quickly on weekends. The toddy changes with the season’s gin sponsor. Last winter it was the Gin-gle Bell Hot Toddy made with Empress 1908 Gin. Book an igloo if you can. If not, the rooftop bar still runs walk-up seating when it is open. End the night here. Two legs, two nights works cleanly. One night works if you Uber between Kendall and Fort Point. Go on a weeknight. Igloos and prime seats disappear on weekends. Eat at Batifol. Confirm the current toddy names before you go. Seasonal menus move around, and the Envoy drink in particular changes with the sponsor. If the fire, the igloo, or a specific drink is the whole point, call ahead the day you go.
Get to know Boston
Order a milkshake in Boston and you might be missing the ice cream
Order a milkshake in Boston at a shop that still keeps the old distinction and you can get exactly what you asked for: milk and flavoring, beaten until it foams. No ice cream. The thicker drink, the one visitors usually mean, is a frappe. Not every counter still bothers. Plenty of menus now use milkshake the way the rest of the country does. The shops that list both drinks are not offering two sizes of the same thing. Those are the last places where a milkshake in Boston and a frappe are different orders. What goes into a milkshake in Boston The traditional local milkshake is milk plus a flavoring, often chocolate syrup, shaken or blended until air gets into it. A frappe adds ice cream. Yankee’s account of the two drinks is useful on a point people skip: the milkshake is not a glass of chocolate milk. Stirring syrup into milk mixes the ingredients. Blending them is what makes it a fountain order. If a menu lists both, look at the prices before treating the cheaper one as a deal. You may be comparing a milk drink with one that has scoops in it. Say “frap” The regional drink is one syllable, rhyming with map. The American Heritage Dictionary records that pronunciation and treats the noun as regional usage, mapping it to Rhode Island and southeastern Massachusetts. Shops in Boston still put it on the board. That entry is a different word from “frappé,” two syllables, which the same dictionary defines as a frozen fruit dessert or a drink poured over shaved ice. The spelling overlap is how visitors end up performing French at a Jamaica Plain counter. A shop owner paid for the lesson Vincent Petryk, who later opened JP Licks, learned the difference as a newcomer from Philadelphia. Boston.com reported that he ordered a milkshake at Bailey’s in the 1970s, saw that it cost half as much as the frappe, and then asked where the ice cream was. Bailey’s is gone. The mix-up is not. The same report found “frappe” in late-nineteenth-century Boston Globe pages attached to chilled and partly frozen drinks, including alcoholic ones, long before it settled on the ice-cream version. Recipes a few years later included cafe frappes and pineapple frappes, sometimes with a scoop of ice cream already in the mix. Boston University food scholars told the paper that regional names for ordinary foods were common before national food media flattened the vocabulary. Megan Elias, who directs BU’s gastronomy program, pointed to a 1920s overlap: Prohibition pushed people toward new places to sit, and electric equipment made ice cream cheaper to produce in volume. Soda fountains did well in that gap. The scholars also said the exact reason this particular word stuck here is not established. There is no inventor to toast and no afternoon when Boston renamed the milkshake. The term showed up in more than one drink, attached itself to the ice-cream one, and stayed. The word is still on the menu JP Licks still lists a regular frappe, an extra-thick frappe, and an espresso frappe, separate from smoothies, frozen coffee, ice-cream sodas, and floats. Extra-thick is a texture, not a citizenship test. In 2023, Mark Parrish, president of Crescent Ridge Dairy in Sharon, told Boston.com his shop still served the ice-cream-free milkshake next to the frappe and asked customers which they wanted. He also said tourists, students, and younger customers increasingly ask for a milkshake. Other counters have given up and will put ice cream in whatever you called it. Rhode Island complicates the map again. In parts of that state, and into southeastern Massachusetts, the ice-cream drink is a cabinet. Same general idea. Different word. This is the same class of local vocabulary as why Bostonians say “wicked.” Get the word wrong and you can still have a conversation. Get this one wrong and you may drink a glass of flavored milk. If the menu says milkshake and you want ice cream in it, ask. You do not need to win the regional argument first.
5 famous comedians with Boston roots
Steven Wright can make a sentence sound as though he has just noticed a small defect in the universe. Bill Burr sounds more likely to demand a conversation with whoever built it. Both passed through Boston’s comedy world, which is a useful reminder that a local connection does not produce one kind of comedian. These five famous comedians with Boston roots came through different hometowns, clubs and careers. Some studied at Emerson; others grew up nearby. Calling all of them Boston-born would be inaccurate, but the region belongs in the account of how they got started. Steven WrightWright’s delivery is so unhurried that the strangeness of a line can arrive before your brain has caught up. His act relies on deadpan observations and language taking an unexpected turn, rather than a large stage persona demanding attention. He is an Emerson graduate, part of the generation the college associates with clubs such as Ding Ho and the Comedy Connection. His work also extends beyond stand-up. Wright and Dean Parisot won the 1989 Academy Award for live-action short film for The Appointments of Dennis Jennings. That is a useful title to seek out if you know him only through one-liners: the same comic sensibility has room to operate inside a story. Denis LearyLeary grew up in Worcester and developed a lasting Boston connection through Emerson. The college’s comedy history places him among the founders of the Emerson Comedy Workshop. It also distinguishes his MTV appearances from the breakthrough performance of No Cure for Cancer at Edinburgh, rather than treating them as a single television event. For another side of his career, there is Rescue Me, the firefighter series he created with Peter Tolan and starred in. The Television Academy’s interview discusses both that collaboration and the personal connection behind the work. His television career gives the anger and speed associated with his stand-up a longer dramatic setting. Dane CookCook grew up in Arlington and built his act around animated storytelling and physical performance. In a Boston.com interview about Above It All, he discussed his early career as well as the newer special. Watching him after Wright makes the difference in delivery fairly obvious; these are not interchangeable versions of a “Boston comic.” His album Retaliation reached number four on the Billboard 200, a chart position documented in his Laugh Factory biography. The record is a place to start if you want to understand the scale of his midcareer audience, rather than relying on whatever short clip happens to turn up first. Bill BurrBurr also studied at Emerson, but his voice is very much his own: argumentative, quick to question an accepted opinion and willing to keep turning a complaint over. His official site collects specials including Paper Tiger and Live at Red Rocks, alongside the Monday Morning Podcast. The podcast is a useful contrast with a prepared special. One gives you the looser format of an ongoing conversation; the other gives you an act shaped for a particular performance. If you are considering tickets, use the current tour listings on his site. A Boston connection does not mean a Boston date is always available. Louis C.K.C.K. grew up in Newton and became known for stand-up and the television series Louie. His material has often dealt with family life, personal failings and uncomfortable observations. Those subjects account for part of his audience, but they are not a complete account of his public career. In 2017, he admitted to sexual misconduct reported by several women, and FX ended its association with him. Boston.com’s reporting on a later Saugus appearance records that history. His place in the region’s comedy story is real; so is the reason many former fans no longer want to buy a ticket. To hear performers discuss the work rather than just watch the finished act, try Emerson’s American Comedy Archives. Its oral histories include Steven Wright and Bill Burr, with interviews and available transcripts accessible online. The conversation can be as interesting as the punch line, especially when a comedian explains the years of work behind something that sounds spontaneous.