Debra Cash
Each month, our arts critics — music, book, theater, dance, television, film, and visual arts — fire off a few brief reviews.
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Here’s this week’s poem, Debra Cash’s “The Boat: April 19, 2013.”
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Because Mindy Aloff is so deeply personal and idiosyncratic — and so dependent on what was programmed by certain theaters, in certain years — her book distorts the very topic it is intended to illuminate.
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For the foreseeable, capitalist American future, full and equitable access to live, professional performing arts will depend on subsidy.
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In our intersectional age, the stories of the fools of Chelm belong on the shelves of any child with a taste for the ridiculous and — with the clarity of kids — an ability to see through self-delusion.
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In the age of COVID-19, Arts Fuse critics have come up with a guide to film, dance, visual art, theater, and music — mostly available by streaming — for the coming weeks. More offerings will be added as they come in.
Susan Larson’s The Murder of Figaro is spiced with raunch, witticisms, and behind the scenes verisimilitude of rehearsal life.
Read MoreArts Fuse critics select the best in music, film, dance, author events, and theater for the coming week.
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Dance Commentary: Contract Dispute Between Union Artists and Alvin Ailey American Dance Theater — ‘Buked and Scorned?
The Ailey dancers’ demands around salaries and the length of their contracts reflect the resurgent strength of organized labor in the cultural sector.
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