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The MRT production marches clumsily along the fine line of being funny and knowing it is funny.
Mark Lilla argues that the creed of the reactionary mind can be just as radical (and disturbing) as any revolutionary ideology.
The performance turned out to be a nervy but hypnotic game of endurance for performer and audience members.
Don’t Give Up the Ship is well worth the time of audience members seeking exciting, unconventional theater.
On this album, saxophonist Noah Preminger serves up his visceral reaction to the post-election state of affairs.
"My ancestors fled pogroms in Poland and today we have a crisis to rival what went on in the 1940s."
Toni Erdmann gently but somewhat darkly reminds us that living life in the fast lane means missing out on its slower, humbler pleasures.
Session Americana has matured from a local, informal collective to a polished touring band.
The Druid Theatre Company staging shows what amazing things happens when a group of artists work together fully and completely .
Nothing in this over-lengthy work refers to whales, the ocean, or even the fishing industry.
Arts Fuse critics select the best in theater, film, music, author events, and dance for the coming weeks.
Director Asghar Farhadi’s most stringent judgments generally fall upon members of his own sophisticated, worldly cohort.
Poet William Benton's slender and beautiful book can safely be described as sui generis.
Alex Beam generates interest via his portrait of frenemies Edmund Wilson and Vladimir Nabokov as brainy but flawed human beings.
This is more interesting than a sweeping survey, it is a portrait of an African-American musician whose career peaked in the Swing Era.
It’s almost as important to see the Drive-By Truckers show at the Royale as to join a march in the streets outside.
Singer Valerie June lays down an impressive vocal marker with her new album.
The Boston Camerata’s lucid production placed emphasis on music and movement and a chiaroscuro-inspired use of light and shadow.
At first, The Autopsy of Jane Doe comes off as a sort of small town crime thriller, but it slowly evolves into what feels like a bonafide horror film.
Hats off to harpsichordist Justin Taylor for the resonant, gripping performances he turns in on his debut album.
Now, more than ever, It’s worth being reminded of our natural potential for good.
This is a script with an exquisite sense of balance; Trans Scripts, Part I is thoughtful, informative, honest, and playful, all at once.
Company One's production of this unconventional work is absorbing: this is the kind of exciting theater that we need to see more often.
Worse, humor and irony have no place in this show's version of virtual reality.
Edward Albee’s bitter masterwork is a tough nut for a company to crack as well as a hard play to watch.
I like to see dances that are somehow all of a piece. Hope this doesn’t mean I'm sinking into some kind of retro-fogeyism.
Director Luis García Berlanga entertainingly but ruthlessly lampoons the cruelties and absurdities of Spanish life under dictatorship.
Among other things, we talked about the art world’s massive hoarding problem.
All of these stories are powerful... if only they were treated with dramatic complexity.
An Arts Fuse regular feature: the arts on stamps of the world.