Posts
This horror comedy traps a cadre of privileged, narcissistic Zennials in a whodunit murder mystery and lets their internet-addled delusions of grandeur tear them apart in the paranoid fallout.
Walter Crockett’s beautiful album is as multifaceted as life itself.
Nico Muhly’s writing in Stranger is of a type of post-Minimalism: often pulsing (or undulating) and rhythmically driven, though anything but harmonically simplistic.
We Carry Their Bones arrives at a time of increased interest in the history of racism and reform schools, particularly in Florida.
As the age of Covid-19 more or less wanes, Arts Fuse critics supply a guide to film, dance, visual art, theater, author readings, and music. More offerings will be added as they come in.
A serving of the essence of the music of John Corigliano: a blend of old and new, radical and traditional that has made him such a singular force in American music over the last fifty-plus years.
Symphonic music wasn’t composer Florence Price’s strong suit. Rather, she was much more at home working in smaller forms or for her own instrument.
This is a release that showcases many of Andris Nelsons’ strengths, including his strong sensitivity for instrumental colors, blends, and balances. At the same time, it also demonstrates the conductor’s hit-or-miss nature with the core repertoire.
I applaud She & Him’s selection of Brian Wilson tunes while at the same time feeling that some are not well-suited to their loungey, languid pop stylings.
Theater Commentary: Maine’s Hackmatack Playhouse — After 50 Years, a Fond Adieu
When Hackmatack Playhouse closes, that will leave, by my count, just one non-equity, professional summer resident theater in Maine: Acadia Rep (founded in 1973) located in Somesville, near Bar Harbor.
Read More about Theater Commentary: Maine’s Hackmatack Playhouse — After 50 Years, a Fond Adieu