But this is an American musical, so political content (and blame for the way things are) must be kept fuzzy, a strategically-calculated myopia.
Theater Review: “Ghosts” — Specters on the March
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.
Music Interview: Klezmer Clarinettist Michael Winograd Does “Kosher Style” Proud
“There’s a giant chip on the shoulder of those who love musics of the world when it comes to klezmer.”
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?
From the Editor’s Desk: We Turn Twelve — The Future of the Arts Fuse
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.
Theater Commentary: An Open Letter — to the “Open Letter”
The media big boys should be part of the discussion, if only because they have the resources to change the situation for the better.
Theater Review: “Cardboard Piano” — Pay Witness
“ignorance about those who have disappeared/ undermines the reality of the world.” — Zbigniew Herbert
Book Interview: “Bad Environmentalism” — Laughing at Gloom and Doom
Mainstream environmentalism is not just serious and sanctimonious, it also happens to be very white and very heteronormative.
Theater Review: The Sense of an “Endlings”
The playwright supplies a memorable encounter between young and old in the play’s final scene, but it is too late to compensate for the superficiality of the Pirandello-lite antics that have come before.
Commentary/Interview: “Du Bois’s Telegram” — Restricting Literary Resistance
Is there a disconnect between artists and meaningful resistance movements?