Arts Fuse Editor
To be truly effective black humor must have us laughing at something we fear, regret, or at the very least recognize.
“It’s not a concert about despair,” observes Joel Cohen, “there’s a lot of festive music in it.”
Commonwealth Shakespeare Company’s production of Birdy is at its best when it focuses on the play’s central relationships.
Maya Erskine and Anna Konkle turn in frequently hilarious but vulnerable performances as their adolescent counterparts.
We need stories like The Wages to expose the hypocrisy and incoherence of the institutions that we are supposed to believe are pillars of justice.
In the age of truthiness, poet Frederick Seidel’s is a welcome voice.
Once is a wonderful musical and the Speakeasy Stage production does exquisitely right by its considerable merits.
The Half-Light is a play about ghosts that, while offering intimations of mortality, ends up exuding a charming and infectious romantic spirit.
This is a finely-selected sampling of what some accomplished women filmmakers offered in 2018.
In very different ways and on very different topics, three recent books assuage notions that architecture/design books are formidable reads.
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