Arts Fuse Editor
Errol Morris allows Stephen Bannon to indulge in his vision of how he will save America, with Donald Trump as his agent and himself as the genius manipulating events.
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I thought I’d never seen such a thrilling example of how dance and music can combine and feed each other.
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The Oregon Shakespeare Festival production of Othello lacks a tragic dimension not because it highlights Othello’s “Otherness,” but because it eschews any vestige of grandeur or nobility.
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M. Night Shyamalan turns the trilogy topper he needed to make after Unbreakable and Split into a preposterous group therapy session.
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Director A. Nora Long’s decision to collaborate with an all female-identifying design team and crew underscores her commitment to a feminist vision.
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Cold War is a timeless story of romantic love, and its persistence in the face of upheaval.
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Josh Begley, in a mere six minutes, demonstrates how impossible the notion of a border wall is, from an engineering and construction perspective.
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Heartland proffers a rare combination — it is a prescient history lesson that also works dramatically.
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Demanding that people pay attention to quality is about as audacious a demand you can take in our giddy culture.
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Classical Music Commentary: Poetic Narratives in the Concert Hall, and a New Recording of Dvořák’s “The Spectre’s Bride”
A reflection on the whole tradition of combining longish narrative poems to music, especially for performance in a concert hall by large forces (e.g., singers and orchestra).
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