387 stories by "Bill Marx"
Tristana is Ibsen's Doll's House played as a gaunt farce, a vision of feminism as icy egotism rather than individual liberation.
"It's not depressing to be told that writers and artists are getting screwed. It's our daily reality."
"The pain depicted on stage must cut to the bone, inspire a seemingly impossible empathy within me, within the audience."
"My first order of business is to do a listening tour. I will have the same question for everyone I meet: what do you need to do your work?"
Theodore Dreiser's The Titan is not the greatest novel about American business, but it is still among the best, an honorable runner-up that turned 100 this year.
Fuse theater critics pick some of the outstanding productions of the year.
Why does The Arts Fuse keep growing? Because there is an audience for thoughtful coverage of the arts -- but we need support from our readers to keep us healthy.
In this fiction and plays, Thomas Bernhard creates fascinatingly repugnant monsters, black holes of egotism that are symptomatic of our spiritual and moral myopia.
The Old Man and The Old Moon is pleasing, but just how theatrically satisfying it is depends on the appeal of 'magical' folktales, the kind where anything goes.
Ether Dome is nothing if not ironic: a dire need for relief generates a mess of pain.
The tragedy of King Lear never takes hold because you know that soon someone is going to pick up an accordion and with a 'Hey, Nonny Nonny' dance those blues away.
"The Boston Book Festival is doing really well. It feels like an established part of Boston's cultural scene."
Imaginary Beasts is to be congratulated for bringing public attention to the brilliant, idiosyncratic-to--the-max-and-beyond work of Daniil Kharms, a writer silenced by Stalin.
Serbian writer David Albahari's fascination with uncertainty fuels a grim, sardonic tragi-comedy in which silence plays an elemental but enigmatic role.
When it comes to race relations, America has a lot on its plate -- there is no good reason to serve leftovers.
We intend to stage work by all the living American poets we can lure into our sphere: starting right here in Cambridge.
Today's increasingly corporate-approved theater stays within safe, civic-minded boundaries.
Despite commentary to the contrary, Jonathan Blumhofer thinks that in the negotiations between the Met management and the unions there was a winner and a loser.
Fighting for the intellectual integrity and independence of arts reviews means demanding more analysis and less sales talk.
Clocking in at around three hours, the show is a surreal grab bag filled with gags, skits, and sketches, the whole kooky kit and kaboodle tied up (too) neatly in a paranoid ribbon.
Stage coverage at the Boston Globe/NPR brain trust is generally dedicated to serving the rich and the trendy -- the publicity gum drop for Finding Neverland the latest evidence that the fix …
There are laughs in this production of Twelfth Night, but the romantic payoffs are somewhat scarce, perhaps because the sit-com rhythms tend to swamp all else (including some of the poetry).
A major regional theater is turning itself into a launching pad for Broadway/Las Vegas blockbusters, with Hollywood pouring cash and advice into pipeline. .
Until now, the powerful economic reality spotlighted by The Arts Factor has generally been ignored or dismissed as anecdotal.
We have lots of plans to expand our readership and reach, to build new ways for our readers to read our online arts magazine. But we need some more resources and support to make this happen.
