The Arts Fuse Newsletter, March 19
Coming Attractions, and reviews of Phish's Trey Anastasio at the Boch Wang Theatre, the book "Capital's Grave", the film "Black Bag" and violinist Ray Chen lighting a fire with the BSO
From The Editor's Desk:
During the dark and cruel days of apartheid, the hard-hitting dissident Athol Fugard was recognized as the theatrical conscience of South Africa. The dramatist died on March 8 at the age of 92. I reviewed many of his dramas throughout the ‘80s and ‘90s. Among my favorites: Statements after an Arrest under the Immorality Act, Sizwe Banzi Is Dead, The Island, and his masterpiece, Boseman and Lena. Fugard’s plays were once produced regularly throughout New England, but interest dropped precipitously after the demise of apartheid in 1994. The last professional New England staging of an Athol Fugard script was in 2014: it was the world premiere of his The Song of the Hummingbird at CT’s Long Wharf Theater. The production starred the playwright.
One reason Fugard has become less fashionable is that his plays are seen as deeply rooted in anti-apartheid protest. There is some truth to this, but it is also limited. A salient passage from Fugard’s Notebooks, 1960-1977: “What I do know is that art can give meaning, can render meaningful areas of experience, and most certainly also enhances. But, teach? Contradict? State the opposite to what you believe and then lead you to accept it? In other words, can art change a man or woman? No. That is what life does.” Why must theater be done in face of overwhelming injustice? Plays must be put on “for the sake of those who believe in human dignity.” Let us not desert them. For those who do believe, Art can impact faith.” It is his long-held commitment to asserting human dignity that makes Fugard necessary in an age of dehumanization.
As an Afrikaner, Fugard was well aware of how nationalism can turn bestial. A still relevant entry from Notebooks, 1960-1977: “The intellectual concepts, ‘ideas’, which motivate the white man in South Africa today are of the sort which, when taken to an extreme, or in certain situations, reduce men to barbarism. ‘The nationalist has a broad hatred, and a narrow love.’ Gide.” Fugard’s heartfelt riposte to the crushing brutality of the state inspired one my favorite sentences in Notebooks: “It’s hard, of course, but once you have stomached hopelessness, Life really begins.”
—Bill Marx, Editor-in-Chief
Archive: From the Editor's Desk
Concert Review: Phish’s Trey Anastasio — Playing the Role of Troubadour
By Paul Robicheau
The sheepishly affable Trey Anastasio wisely focused on music, allowing him to play a broader representation of his repertoire across two hours and 25 minutes.
Book Review: “Capital’s Grave” — We Need a Different System
By Ed Meek
Staffed with billionaires including Elon Musk, the richest man in the world, and Trump himself, a reputed billionaire, the present administration is made up the country’s lords — and we are their serfs.
Film Review: “Black Bag” — High Fidelity
By Peter Keough
Two cheers for monogamy in Steven Soderbergh’s new film.
Coming Attractions through March 31 — What Will Light Your Fire
Compiled by Arts Fuse Editor
Our expert critics supply a guide to film, visual art, theater, author readings, and music. More offerings will be added as they come in.
Concert Review: Rolling Thunder — The Boston Symphony Orchestra and Violinist Ray Chen
By Aaron Keebaugh
Violinist Ray Chen and the BSO delivered one of the most seismic performances of Tchaikovsky’s Violin Concerto that I’ve heard.
Arts Commentary: Climate Crisis Cabaret — Marching Orders
By Bill Marx
Why did I help organize the Climate Crisis Cabaret? Because these are not normal times. And we need more theater like it.
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Editor-in-Chief
Bill Marx
wmarx103@gmail.com
