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Does anyone really believe that there is no sexual harassment going on in Boston area theater companies today?
Hold These Truths is an invaluable reminder that alternative facts are not a new thing.
More alarming signs that the Boston Globe‘s arts section is shedding talent.
Critics were once seen as the 'canaries in the mineshaft' -- now newspapers and magazines are closing down the mines.
Sleeping Weazel stages a gutsy production of an angry, ugly, and essential history lesson.
Let us hope that today's revelations will be taken more seriously than charges of sexual harassment and assault were back in 1993.
Edgar Allan Poe: Buried Alive does an honorable service for the writer who embodied, as well as created, "The Imp of the Perverse."
We are invited to see the world through the eyes of an adolescent whose autism makes human communication and contact incredibly difficult.
An invigorating staging of Henrik Ibsen's still pertinent play about spinelessness up and down the political spectrum.
Selina Fllinger’s play manages to serve up some vivid confrontations between believers and doubters.
Off the Grid's The Weird is content to cast a low wattage spell.
Burn all Night is a pretty damp squib coming from one of the country's major regional theaters.
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.