Arts Fuse Editor

Dance Review: Choreographer Paul Taylor’s Extraordinary Domain — on Film

September 16, 2015
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A fascinating documentary in which you get both a Paul Taylor dance and the making of the dance.

Dance Feature: Cloud Gate Dance Theatre — Moving Like Brush Strokes

September 15, 2015
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“It was a dream of mine for many years to present the very best Asian dancers such as Cloud Gate for our audience and for dancers in the Pioneer Valley.”

Book Review: “Half an Inch of Water” — Nine Stories that Peer Memorably into Eternity

September 14, 2015
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One of the hardest things to do as a writer of contemporary fiction is to create characters who are good.

Fuse Theater Review: “In Bed with Roy Cohn” — Turns out to be a Provocative Place to be

September 13, 2015
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is one high-energy spectacle: it is far more of a performance art piece than a ‘well made’ play.

Music Feature: Jackie Greene Talks About Going “Back to Birth”

September 13, 2015
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Singer-songwriter Jackie Greene’s new tunes are comfortable without being lazy — this is a musician who flourishes in a more relaxed environment.

Fuse Coming Attractions: What Will Light Your Fire This Week

September 13, 2015
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Arts Fuse critics select the best in film, theater, music, dance, visual arts, and author events for the coming week.

Theater Review: “Laugh It Up, Stare it Down” — No Sex Please, We’re American

September 11, 2015
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From the opening moment of this show, suspension of disbelief flies out the window and never returns.

Fuse Coming Attractions: What Will Light Your Fire This Week

September 6, 2015
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Arts Fuse critics select the best in film, theater, music, dance, visual arts, and author events for the coming week.

Fuse Theater Review: “Informed Consent” — Science, Ethics, and Racing Against the Clock

September 5, 2015
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Playwright Deborah Zoe Laufer has done a marvelous job of blending weighty ideas into a very human context.

Theater Review: A.R. Gurney’s “Love and Money” — Aging White Bread Blues

September 3, 2015
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Love and Money is a short play, lengthened beyond one-act duration by stuffing a Cole Porter interlude into its middle.’

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