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Book Review: “Liberty’s First Crisis” — Oddballs to the Rescue

March 31, 2016
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Liberty’s First Crisis presents reminders that elected officials have always been capable of uncivilized behavior toward their colleagues.

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Film Review: Foodie Documentary “City of Gold” — Plain Fare

March 31, 2016
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The really unforgivable thing about City of Gold: the dull, flat way in which the food is shown.

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Dance Review: Trajal Harrell — Dragging the Greeks

March 31, 2016
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Twenty Looks has put a lot under its belt since Trajal Harrell began his research. It’s bigger now, but I’m not sure it’s any more profound.

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Fuse Concert Review: Boston Symphony Orchestra plays Kancheli, Rachmaninoff, and Shostakovich

March 29, 2016
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Saturday’s performance revealed the BSO to be at the top of its collective game, totally locked in, and fully responsive to Andris Nelsons’ leading.

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Fuse Stage Review: Richard Nelson’s “Hungry” — The Terrible Beauty of Theater

March 29, 2016
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Richard Nelson’s family members talk to each other, not to us. We are privileged to be permitted to listen in.

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Dance Review: The Dream Project II — “Luna Soul,” Eastern Narrative Meets Western dance

March 28, 2016
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Trained in both Eastern and Western dance styles, Artistic Director Chun-Jou Tsai aims to bridge these two cultures.

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Book Review: “All the Single Ladies” — Essential Reading

March 28, 2016
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All the Single Ladies is an ambitious book, packed with so many interesting people and ideas that I often wanted to hear far more about each.

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Film Review: “Marguerite” — What Price Performance?

March 27, 2016
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Xavier Giannoli’s Marguerite is a wonderful study of delusion and illusion, the deceptive power of love and faith.

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Book Review: “Really the Blues” — Memorable Tales of Jazz Age Derring-do

March 26, 2016
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For all his memoir’s faults, Mezz Mezzrow’s rambunctious enthusiasm for jazz and the world it shaped and defined keeps the pages turning.

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Fuse Book Review: “Beasts You’ll Never See” — Short Stories that Elicit Shrieks of Hilarity

March 25, 2016
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Nate Liederbach demotes plot and Aristotelian mechanics, replacing them with the acrobatics of a beer-loud voice.

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