Bill Marx
Evaluated as an empathy workout, Trayf never asks us to break a sweat.
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Arts Fuse critics select the best in film, dance, visual art, theater, music, and author events for the coming weeks.
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Much ado about nihilism.
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Listening to the dead speak, amid the natural grandeur of Mount Auburn Cemetery, is a moving experience.
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David Gow’s earnest, intelligent drama about the fragility of identity, though somewhat glibly reassuring, generates powerful moments in this bare-bones production from the Acropolis Stage Company.
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But this is an American musical, so political content (and blame for the way things are) must be kept fuzzy, a strategically-calculated myopia.
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In this always compelling production, director Carey Perloff decided to bring the uncanny on stage, almost as a sixth character, in the form of composer/musician David Coulter.
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“There’s a giant chip on the shoulder of those who love musics of the world when it comes to klezmer.”
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This funding means that The Arts Fuse will be cranking out the kind of arts coverage you have come to expect for a good time to come.
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Cultural Commentary: Arts Criticism — An Embarrassment of Whiteness
Can anyone — with a straight face — argue that our largely white critical contingent in Boston is interested in generating hard hitting debate, controversy, and unconventional ideas?
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