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September Short Fuses — Materia Critica

September 3, 2024
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Each month, our arts critics — music, book, theater, dance, television, film, and visual arts — fire off a few brief reviews.

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Opera Album Review: First-Ever Recording of “Shamus O’Brien” — A Long-Forgotten Delight by One of Britain’s Savviest Composers

September 2, 2024
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A success in 1890s London and New York, the engaging Irish comic opera “Shamus O’Brien” finally gets Its world-premiere recording

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Children’s Book Reviews: Just in Time for Fall — Multicultural Perspectives

September 1, 2024
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 A round-up of new children’s books that celebrate diverse cultures.

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Classical Album Review: Pacifica Quartet’s Bracing Collection of “American Voices”

August 31, 2024
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When it comes to defining American music, Pacifica Quartet’s new recording offers some welcome food for thought.

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Visual Arts Review: Baskets of Wonder – Jeremy Frey at the Portland Museum

August 30, 2024
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Beyond rich allusions to the past, Jeremy Frey and his generation of basket-makers are also creating objects that will leave your eyes spinning.

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Television Review: “After Baywatch: Moment in the Sun” — Stuck in the Shade

August 29, 2024
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Like the iconic series it covers, “After Baywatch” is all gloss, an airbrushed look at a show about sexy lifeguards.

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Film Review: “Mountains” — Downwardly Mobile

August 29, 2024
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The performances in Mountains are astounding, and Monica Sorelle’s sure-handed direction heralds a new and formidable talent.

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Weekly Feature: Poetry at The Arts Fuse

August 29, 2024
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This week’s poem: Kevin McLellan’s “BETWEEN”

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Book Review: “America and Other Myths” — Sucking “a Sad Poem Right out of America onto Film.”

August 28, 2024
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In her fine book, Lisa Volpe examines mid-’50s picture-making expeditions taken across the U.S. by photographers Robert Frank and Todd Webb.

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Theater Interview: Bob Scanlan on Directing “The Arsonists”

August 27, 2024
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“It’s not just some generic ‘evil’ “The Arsonists” protests, it is willful blindness to fascist and authoritarian agendas. Denial and hiding behind “bourgeois” comfort is the theme.”

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