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The BTCA should take action in support of #MeToo.
The post Theater Commentary: The Boston Theater Critics Association — Still Evaluating? appeared first on The Arts Fuse.
Precious few independent online arts publications make it to double digits. Please give us the resources we need to persevere at an essential cultural task.
The post THE ARTS FUSE TURNS TWEL…
"ignorance about those who have disappeared/ undermines the reality of the world." -- Zbigniew Herbert
The post Theater Review: “Cardboard Piano” — Pay Witness appeared first on The Ar…
Mainstream environmentalism is not just serious and sanctimonious, it also happens to be very white and very heteronormative.
The post Book Interview: “Bad Environmentalism” — Laughing…
The playwright supplies a memorable encounter between young and old in the play's final scene, but it is too late to compensate for the superficiality of the Pirandello-lite antics that have…
Is there a disconnect between artists and meaningful resistance movements?
The post Commentary/Interview: “Du Bois’s Telegram” — Restricting Literary Resistance appeared first on The…
The generally enjoyable Bedlam production of Pygmalion doesn't quite settle for the glucose bait.
The post Theater Review: Bedlam’s “Pygmalion” — An Enjoyable Excursi…
I strongly advise you to explore the wizardry of Manual Cinema -- its potential is considerable.
The post Theater Review: Two Cheers for Manual Cinema’s”The End of TV” app…
This is yet another sentimental exercise in the mechanics of mother/daughter rapprochement
A Doll's House, Part 2 comes off as a return to the barn -- after the door has fallen off its hinges.
Despite its promising premise, Bess Wohl's script is yet another wan exercise in genial domestic comedy.
Help sustain an endangered species -- substantial critical coverage of the arts.
Peter Brook has decided to be more than a little stubbornly anti-theatrical in The Prisoner.
The moral of Jen Silverman's yarn is straightforward enough: we are in a country where self-transformation has become an end in itself, re-invention a default response to omnipresent banalit…
Yes, The New Yorker cover pillories the superrich as they ignore the pixie proletariat at their feet. But so what?
The Peculiar Patriot may say it is about making us feel the human price of mass incarceration in America, but there is more than a little True Romance in the mix.
Taylor Mac and Pirandello share the same goal: reveal the deadening vacuity at the heart of bourgeois society and the male ego.
The old questions, good as they are, are going to be augmented with new ones: Are we creating a world worth living in? Are we creating a world we can continue to live in?
Eleanor Burgess' The Niceties is an articulate, if structurally crabbed, expression of #blacklivesmatter anger as well as a millennial rebel yell.
The Beau Jest Moving Theater staging succeeds at conjuring up the genially comic spirit of the late Larry Coen, a bounteously talented actor and director.
"If solutions are hard to come by -- both in terms of the socioeconomic predicament of contemporary jazz, and for American culture more generally -- this is because they derive from such fun…
Three theaters in the Berkshires offer differing views of the past.
Will working with audiences encourage stage companies and theater artists to go beyond the status quo? Or just cement them into the sweet spot?
Diverting the resources of Boston's regional theaters into the casino of Broadway undercuts the ideals that launched the regional theater movement.
This Midsummer Night's Dream is a pleasant enough entertainment that is helped mightily by the bucolic waterfront setting.
“Our film has community and spirituality,” says Amy Geller. “It also has conflict.”
We will not get another Angels in America unless we demand it -- and stop accepting bogus substitutes.
Recommended hashtags for the Boston Theatre Critics Association: #MeTooGiveMeTime, #MeTooNotYet
Joshua Sobol isn't interested in exploring dramatic possibilities but making sure his equation about the inevitable mechanics of violence work out.
Albert Camus brings a bracing response to thinking about the worse that is missing in so many of our current dystopias.
The script is symptomatic of the Trump era: a passionate rejection of the "politically correct” pushes warriors for "freedom,” as well as voices of radicalism, into morally despicable po…