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Film Review: “The American Sector” — Meditating on Displaced Fragments of History

February 15, 2021
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Over 75 segments from the Berlin Wall have found their way to the U.S., providing the subject for The American Sector, an amusing, quirky, and meditative road-trip/scavenger hunt.

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Theater Review: “Hello, Dolly!” in Boston a Welcome Confection

August 17, 2019
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The national tour of the smash-hit revival retains much of the charm of the original.

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Dance Review: “Full on Forsythe” — Revolutionary

March 12, 2019
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William Forsythe asks dancers to go beyond their mastery of technique — in order to have the music move audiences to a higher level of emotional involvement.

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Coming Attractions: June 2 through 18 — What Will Light Your Fire

June 2, 2019
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Arts Fuse critics select the best in film, dance, visual art, theater, music, and author events for the coming weeks.

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Music Interview: Guitarist and Singer Tobin Sprout — the George Harrison of Guided by Voices

July 10, 2014
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Since then, they have remained as indefatigable as ever in terms of writing, recording, and touring.

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Podcast Review: “The Joe Rogan Experience” — Taking Responsibility for Random Gab?

October 16, 2020
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As amusing and informative as The Joe Rogan Experience can be, a few podcast interviews doth not an actual education make.

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Film Interview: Rory Kennedy defends “Last Days in Vietnam”

May 7, 2015
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Not everybody loves the documentary Last Days in Vietnam. Director Rory Kennedy responds to some of the criticism.

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Visual Arts Feature: MASS MoCA Launches Building 6

May 22, 2017
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It is now possible for visitors to explore the MASS MoCA museum complex via a continual loop of 4.5 miles.

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Cultural Commentary: Arts Criticism — An Embarrassment of Whiteness

July 24, 2019
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Can anyone — with a straight face — argue that our largely white critical contingent in Boston is interested in generating hard hitting debate, controversy, and unconventional ideas?

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Book Review: #ClassicalMusicSoWhite? — How It Got That Way and What to Do About It

January 3, 2022
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Joseph Horowitz’s short, punchy, well-sourced, and compulsively readable book argues for bringing back the forgotten works of important Black composers.

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