Month: September 2015

Fuse Theater Review: “Ghost Quartet” — Bang the Drum Slowly

September 10, 2015
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The things that go bump in the night are a pretty gooey lot in Ghost Quartet.

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Classical Music Commentary: Kapellmeister Nelsons

September 10, 2015
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We’ll have to wait and see how Andris Nelsons balances things out. But there’s no reason to suspect that Boston’s getting the short end of the stick here.

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Theater Review: From Page to Stage — Shakespeare’s “The Rape of Lucrece”

September 10, 2015
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Dan Hodge turns two hundred and fifty stanzas of Shakespeare’s rhyme royal into the stuff of a high-class poetry slam.

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Stage Interview: Robert Scanlan on Samuel Beckett’s Women

September 9, 2015
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“When we turn so crass and commercial that we have lost our way, Samuel Beckett will be rediscovered as the way back.”

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Book Review: Dystopia as Our Future — Antoine Volodine’s “Post-Exotic” Oeuvre

September 8, 2015
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Antoine Volodine is a master of the prolonged, very prolonged, tongue-in-cheek spoof. But he is also dead serious.

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Book Review: Two From Andreï Makine — A Matter of Trust

September 8, 2015
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Makine may be plagiarizing himself, which is a perfectly legitimate thing for a writer to do, but scenes of spring snow and railroad stations become clichés even in talented hands.

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Theater Review: A ‘Loverly’ “My Fair Lady” From the Lyric Stage

September 7, 2015
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Simplicity is the key to director Scott Edmiston’s passionate vision for this musical.

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Fuse Coming Attractions: What Will Light Your Fire This Week

September 6, 2015
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Arts Fuse critics select the best in film, theater, music, dance, visual arts, and author events for the coming week.

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Fuse Theater Review: “Informed Consent” — Science, Ethics, and Racing Against the Clock

September 5, 2015
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Playwright Deborah Zoe Laufer has done a marvelous job of blending weighty ideas into a very human context.

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Theater Review: A.R. Gurney’s “Love and Money” — Aging White Bread Blues

September 3, 2015
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Love and Money is a short play, lengthened beyond one-act duration by stuffing a Cole Porter interlude into its middle.’

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