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Theater Review: “Coyote on a Fence” — Drama on Death Row

April 6, 2017
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In a surprisingly quick 100 minutes, this smart play forces us to confront our own preconceived notions about good and evil.

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Coming Attractions: October 30 through November 8 — What Will Light Your Fire

October 23, 2016
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Arts Fuse critics select the best in theater, visual arts, film, music, author events, and dance for the coming week.

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Visual Arts: “It’s Alive!” — Undying Terror

October 7, 2017
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A terrifically fun — when not spine-tingling — exhibition of horror and sci-fi memorabilia.

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Coming Attractions: July 25 through August 10 — What Will Light Your Fire

July 25, 2021
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As the age of COVID-19 wanes, Arts Fuse critics have come up with a guide to film, dance, visual art, theater, and music. Please check with venues about whether the event is available by streaming or is in person. More offerings will be added as they come in.

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TV Review: “The Knick”—Rewarding, But Not for the Faint of Heart

November 6, 2015
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Cinemax’s The Knick is gruesome, grim, and certainly not for the faint of heart.

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Book Review: “City on Fire”—Epic Literary Kindling

October 24, 2015
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For a long novel, City on Fire is generously accessible and one of its strengths is in its absorbing, immersive momentum.

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Coming Attractions: December 3 through 19 — What Will Light Your Fire

December 3, 2023
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Our expert critics supply a guide to film, dance, visual art, theater, author readings, and music. More offerings will be added as they come in.

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Author Interview: Caroline Leavitt on her Novel “Days of Wonder”

May 9, 2024
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“I wanted to explore the real nature of guilt and innocence, and why it isn’t easy for society to forgive.”

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Classical CD Reviews: Mitsuko Uchida plays Mozart, Seong-Jin Cho plays Chopin, and Hans Gal’s Piano Concerto

December 15, 2016
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Among the three CDs reviewed is a particular treat — a new recording that really, truly matters.

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Fuse Theater Review: “The Real Thing” — A Play That Resonates with Reality

November 15, 2014
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The Real Thing’s discussion of linguistic precision may be telling now in ways that dramatist Tom Stoppard may not have anticipated.

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