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Fuse Theater Review: The Hypocrites’ “Mikado” — A Theatrical Wow

April 2, 2015
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Don’t miss the “joyous shout and ringing cheer” of this delightfully boisterous version of The Mikado.

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Book Review: “The Bridal Chair” — Surviving Genius

April 2, 2015
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The Bridal Chair will not only answer many questions about this complicated, famous family; like Chagall’s best work, it will also linger in the mind.

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Fuse Dance Review: The Extraordinary Ritual Remix of “Moses(es)”

April 2, 2015
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Moses(es) has many layers of metaphor and suggestion, but the surface is always visually intriguing, musically imaginative

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Fuse Concert and CD Review: Belle and Sebastian — The Masters of Pop Whimsy

April 1, 2015
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The pop magic that Belle and Sebastian excels at struggles to survive on the band’s new album because its dance-heavy vibe plays against their strengths.

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Restaurant Review: Woods Hill Table in West Concord — An Exemplary Farm-to-Table Experience

April 1, 2015
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Woods Hill Table is the 153-seat culmination of a vision that encompasses the locavore movement in impressive fashion.

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Book Review: “Going into the City” — A Restrained Portrait of the Critic as a Young Man

March 31, 2015
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Robert Christgau, the author of 14,000 record reviews, makes the case for expansiveness as the best aesthetic.

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Book Review: Three New Novels Explore the Power of Trauma

March 31, 2015
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A trio of new novels suggest that bad as it gets may not be as bad as it can get.

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Film Review: “Salad Days: The Birth of Hardcore Punk in the Nation’s Capital”

March 31, 2015
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When no-one was looking, Ian MacKaye and a group of young people like him created one of American alternative music’s most important and unique scenes.

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Theater Interview: Actor Marc Labrèche — On Robert Lepage’s “Needles and Opium”

March 30, 2015
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“It is just when we delve deeper into the sorrows of our lives, the sorrows we have all endured, that our humor saves us.”

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Dance Review: Alvin Ailey Amplified

March 30, 2015
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There was more than one reference to Alvin Ailey himself in Odetta, recalling Ailey’s frequent use of a female protagonist and his choices of other noted black artists as inspiration.

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