Arts Fuse Editor
As the age of Covid-19 more or less wanes, Arts Fuse critics supply a guide to film, dance, visual art, theater, author readings, and music. More offerings will be added as they come in.
Featuring a transcendent performance by Bill Nighy, Living inspires viewers to look inward, and then outward, gently begging us to muster whatever power we have to seize the day.
While balancing the scales of justice can be difficult work, the effort is an important act of generosity, even love.
Dave Brubeck and the Performance of Whiteness has scholarly value but, given its diminution of human agency, it will not significantly impact real life public conversations about ending white privilege and dealing with the complexities of cultural appropriation.
Arnold Trachtman, Isabelle Higgins, and Barbara Ishikura are all “Boston Modern” artists who never stray far from communicating all-too-human joys and worries.
Technology-driven horror narratives are ubiquitous these days: Red Rose has an authentic look that makes its creepiness distressingly plausible.
More popular than The Beggar’s Opera, J. F. Lampe’s goofy opera of 1737 receives its first complete recording, and the performance is splendidly, subtly humorous.
Chamber music under Shakespeare’s spell is responsible for one of the high points of the Chameleon Arts Ensemble’s current season.
Two campus structures and one downtown office building speak a new visual language.
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