Arts Fuse Editor
For prog fans who consider that the proof of the pudding is long, complex songs with virtuosic solos and exotic instrumentation, no fear: To The Far Away is multi-textured and musically exciting.
At times, Laurel Hell’s withering fatigue is directed at the clash between commodification and art.
Seeing Eleanor Antin’s 100 Boots all in one place is exciting — this work of “postal art” is still explosive. Fred Sandback’s minimalist pieces offer a quiet contrast.
With the eyes of the world on Ukraine right now, two films at Sundance came from that country, or what used to be that country.
Tenor Mathias Vidal shines, as does the period-instrument orchestra, in the rarely heard, trimmer version of 1761, on the Chateau’s own new award-winning label.
Make what you will of this often page-turning confection, which if not particularly literary, may be a bunch of fun.
As the age of Covid-19 wanes (or waxes?), Arts Fuse critics supply a guide to film, dance, visual art, theater, and music. Please check with venues about whether the event is available by streaming or is in person. More offerings will be added as they come in.
Mel Brooks called Ronnie Scott’s Jazz Club “a little nest of happiness. All our recent wounds are healed there.”
Dramatist Lydia R. Diamond makes an honorable effort to adapt Toni Morrison’s novel to the stage, but with mixed results.
In this collection, Carolynn Kingyens discloses what lies behind the veneer of our relationships.
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