Arts Fuse Editor

Music Interview/CD Review: Langhorne Slim’s “Spirit” is Moving, Come Hell or High Water

November 19, 2015
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The Spirit Moves is imbued with a sense of rebirth, emotional and creative, that pairs well with Langhorne Slim’s trademark barn-burning intensity.

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TV Review: “Master of None”—Aziz Ansari’s Masterful New Show

November 17, 2015
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Master of None is an exercise in emotionally intelligent storytelling that delves into the real lives of its characters.

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Film Review: “The 33″—Truth is More Frightening Than Fiction

November 16, 2015
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Avoiding overly melodramatic images, The 33 is a true horror story on screen, one that we can identify with in the deep, fearful recesses of our collective subconscious.

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Theater Review: Overcoming Silence—”The Love of the Nightingale”

November 15, 2015
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Hub Theatre Company’s production is artfully staged in a challenging, three-quarter round space.

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Fuse Coming Attractions — November 15–24: What Will Light Your Fire This Week

November 15, 2015
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Arts Fuse critics select the best in film, theater, dance, music, visual arts, and author events for the coming week.

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Dance Review: Process Pieces From Harvard Dance Project

November 14, 2015
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Each of the ten or so music-less sections showed us a different way of composing movement.

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Music Review: Postmodern Jukebox—Reverence for the Past, With a Dash of Irony

November 13, 2015
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Postmodern Jukebox dials the clock back on contemporary pop.

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Film Review: “Once in a Lifetime” and “Meet the Hitlers” at the Boston Jewish Film Festival

November 13, 2015
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Two films in the Boston Jewish Film Festival: one sticks to the commonplace, the other looks at the bizarre.

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Music Interview: Fusion Violinist Jean-Luc Ponty and Jon Anderson Join Forces

November 11, 2015
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I just have to use all my personal musical experience — classical music and jazz and rock and electronic sound — and not worry about where it fits.

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Fuse Visual Arts Review: Ink in the Blanks—Bill Griffith Gathers and Discovers His Past with Graphics

November 11, 2015
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If anyone needs more evidence that graphic memoirs are the equal of purely literary ones, Invisible Ink closes the case for good.

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