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Dramatist Katori Hall’s narrative unfolds with few surprises: every revelation, every secret, every comeuppance is foreshadowed.
Casa Valentina’s dramatic weight comes from how skillfully the cast explores the tensions that swirl about the subject of who is gay, who is straight, and what is legal.
Arts Fuse critics select the best in film, theater, dance, music, visual arts, and author events for the coming week.
As a soloist, Fred Hersch is a wonder: he plays with an active, to the point of restless, two-handed style that sweeps a listener along with its lyrical fervor.
David Ireland’s use of coded sectarian language helps him paint a vivid picture of the Belfast his characters call home.
It is hard to figure out just what playwright Winnie Holzman is up to in Choice: is this a supernatural sit-com?
Jafar Panahi’s Taxi is a winning, happy, unhappy, humane little road movie.
What seems to animate many of the fairy tales is a heady freedom from the constraints of realism.
“This is JETHRO TULL!, expressed proudly in bold terms. And then ‘the rock opera,’ said in an embarrassed whisper.”
Film Review/Commentary: “Goodnight Mommy”—We Have Met the Enemy and He is Ours
Two recent horror films know what they are doing: they are intelligent, clever, original, and genuinely disturbing.
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