Review

Classical CD Review: “Con eco d’amore”—Elizabeth Watts sings Scarlatti

October 21, 2015
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Soprano Elizabeth Watts’ voice is as clear as crystal in every musical context and texture.

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Fuse Blues CD Review: Blues Spirit Catcher—Ironing Board Sam Beats the Odds Again

October 21, 2015
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Blues feeling remains as unpredictable as ever. Who would have guessed that its strongest incarnation this year so far would be Ironing Board Sam’s Super Spirit?

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Film Review: “Stray Dog”—A Red Neck Hero

October 20, 2015
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Stray Dog shows us again and again, through its protagonist’s words and actions, that you can’t judge a book by its cover, or its red neck.

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Book Review: Towering Rage and Bottomless Mirth—Jonathan Franzen’s “Purity”

October 20, 2015
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My biggest gripe is with a central tenet of Jonathan Franzen’s fiction: communication between generations is impossible.

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Fuse Dance Review: Doug Varone and Dancers—Dense and Transparent Layers

October 20, 2015
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Doug Varone’s strong sense of design, color, and music lends depth and a certain mystery to his dances.

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Fuse Concert Review: A High-Voltage “Elektra” at Symphony Hall

October 19, 2015
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I’ve rarely heard the Boston Symphony Orchestra playing with greater color, pliancy, or controlled energy as they delivered on Saturday night.

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Theater Review: “Copenhagen”—A Dazzling Production Conceals Moral Confusion

October 17, 2015
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Despite the dazzling rewards of this virtuoso Underground Railway Theater production, Copenhagen short circuits its central theme.

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Fuse TV Review: “Fargo” Season Two—Viscid, Vivid, and Nearly Perfect

October 17, 2015
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If the first episode is any indication, season two of FX’s Fargo is going to be an almost pitch-perfect sophomore effort.

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Theater Review: “I and You”—Sounding a “Barbaric Yawp”

October 16, 2015
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This gem of a play that is guaranteed to make you gasp at its surprising conclusion and leave the theater reveling in its lush language and the outstanding performances.

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Theater Review: New Rep’s “A Number” Doesn’t Add Up

October 15, 2015
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The laughter in the production serves a useful purpose: it distract us from the serious narrative problems in Caryl Churchill’s script.

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