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American Moor is a terrific meditation on Othello and race.
Wonder why Boston theater is so bland, why there is so little political resistance?
This is an evening that, through an excess of imagination, makes as little sense as possible.
If the ballyhoo around the Public Theater's Julius Caesar is a sign of the times, then we have a lot more than Trump to fear.
THE ARTS FUSE TURNS TEN! Help sustain substantial critical coverage of the arts. By Bill Marx TEN YEARS of The Arts Fuse! Over four thousand reviews, commentaries, and features on arts and c…
There are just too many traumas on Hasfari's checklist, too little time allotted to dramatic depth.
My thought was that it would exciting to invite high school students from diverse backgrounds in the Boston area to become better educated about arts criticism.
Lester Bangs insisted that, at its best, rock was an act of pure rebellion, a liberation from the prison of respectability.
Beneath Barbecue's jokes there's little but a chic cynicism.
Ayad Akhtar's script softens up patriarchal authoritarianism by plugging it into a family comedy structure.
The ART presents a staid production of Tennessee Williams' talky chamber play about wanderers struggling to be released from their pain.
Can the smothered idealism of the teachers be rekindled? Will the school be saved if students and faculty join together?
Praxis Stage manages to get Arthur Miller's message across, and it is a valuable one that must be repeated well beyond the inauguration.
This is a thoroughly pedestrian production -- wobbly, uninspired, and often downright tedious.
Why haven't American theater companies dealt seriously with climate change?
Bill Rauch and company keep the superficial contrivances hurtling along at a fast enough pace so we aren't given much time to think.
I ask you to consider contributing to The Arts Fuse so that we can continue to be an indispensible part of the Boston arts landscape.
Maybe finally we’re reaching the Natsume Soseki moment in the English-speaking world.
There will be a public celebration of Margaret Weigel's life on December 9 at Medford's Chevalier Theater.
There's nothing here to challenge the status quo, just an amiable 'sex' comedy about characters who aren't getting any.
Many of today's arts editors and reviewers embrace a lilliputian vision of arts criticism; they accept a crabbed sense of its possibilities.
"I have always been a fan of horror movies, and I’m sure that was part of the attraction to me."
The standard view of Kafka reduces him to the patron saint of neurotics.
Is truth and beauty served when the arts just take the money from the big banks and run?
We're reminding everyone that fighting corruption and injustice is hard work, but it can be fun as hell too.
"The purpose of the film is to take the audience on what I hope will be a riveting, challenging, and ultimately uplifting journey into the world of human trafficking."
This is a satisfying if limited production; the Harbor Stage Company is a troupe that is well worth keeping an eye on.
There is little doubt in my mind that this powerful production of Blasted will be one of the high points in Boston theater this year.
The hope is that nobody will notice that arts criticism hasn't been invited to the Pulitzer Prize's centennial party.
Among the driving forces behind Anna Deveare Smith’s latest solo work is a call to strengthen "our collective capacity for action."
There is much to like in this outdoor production of Love's Labor's Lost -- the time passes by quickly and there are plenty of smiles along the way.