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Theater Review: New Rep’s “Muckrakers” — Not Messy Enough

January 17, 2015
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Zayd Dohrn’s slightly predictable Muckrakers offers some satisfying twists and turns as it moves toward the inevitable.

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Theater Review: “Measure for Measure” – A Problem Play for Shakespeare’s Time — and Ours

January 16, 2015
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Shakespeare may have written Measure for Measure as a dystopian satire of what it would be like if the Puritans were ever to take over England.

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Roots and World Music Review: Favorite and Least Favorite Shows of 2014

January 16, 2015
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Better Late Than Never: Fuse Music Critic Noah Schaffer’s favorite live music moments from the past year.

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Film Review: “Foxcatcher” — Sports and the Pathology of the 1%

January 15, 2015
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Of all the cinematic indictments of the 1% that have flooded the multiplex in the wake of the financial crisis, Bennett Miller’s Foxcatcher stands as one of the most understated.

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Stage Review: A Not-So-Perfect “Future Perfect” at SpeakEasy Stage

January 15, 2015
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Playwright Ken Urban doesn’t seem to have a strong point of view about his thirtysomethings-in-a-muddle; neither does he allow them to change or grow.

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Classical CD Review: The Schneider Quartet — Heavenly Haydn

January 14, 2015
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Despite the monaural sound, these gloriously performed string quartets remain my favorite Haydn recordings.

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Arts Interview: Scott Timberg Looks at the “Culture Crash” Square in the Eye

January 13, 2015
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“It’s not depressing to be told that writers and artists are getting screwed. It’s our daily reality.”

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Book Review: “Culture Crash” — The People Who Followed Their Bliss Off a Cliff

January 13, 2015
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Truth is, the fraying of the middle class is not just something that has happened to creatives.

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Book Review: Miranda July’s “The First Bad Man” — Transforming the Ordinary into the Extraordinary

January 13, 2015
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Miranda July’s originality of vision rests on an acute (and astute) awareness of the cosmic and the quotidian.

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Visual Arts Commentary: The Telling Anonymity of Political Street Art

January 12, 2015
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Highlighting the identity of artists is essential in art world journalism, but it appears to be unimportant when reporting on the artistic contributions to political street demonstrations.

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