Susan Saccocia is an independent writer whose essays, features, profiles and reviews explore theater, visual arts, jazz and dance in the U.S. and overseas. A regular contributor to the Bay State Banner, Susan has also been published in Art New England ,The Christian Science Monitor, The Washington Post, The Boston Globe, Boston Magazine and other regional and nationwide media. An award-winning arts writer, Susan is also the recipient of three National Endowment for the Arts fellowships in arts journalism among other honors.
“Tu eres mala!” (“You are bad!”), curses an angry mother as her daughter dispatches her against her will to a hospital after a bad fall.
A kinetic, minimalist staging of a Jane Austen classic
Jane Austen’s 1811 novel “Sense and Sensibility,” was her first published book, and, like her other masterpieces to come, it portrays the quest for love, marriage and money. Mining the story’s timeless humor and insight is New York-based theater company Bedlam’s inventive production, “Bedlam’s Sense & Sensibility,” on stage at the American Repertory Theater in Harvard Square through Jan. 14.
The New England Conservatory Millennium Gospel Choir performed its 11th annual Christmas concert at the Museum of Fine Arts, Boston last weekend, with two sold-out shows on Friday night and Saturday afternoon.
Visible from outside the Rose Art Museum at Brandeis University in Waltham as well as indoors, a wall-size mural inspired by “Between the World and Me” renders the word “plunder” in giant, curving strokes of Gregg shorthand, the stenographers’ tool that translates sounds into curving and bisecting lines. Both an abstract image to those who cannot read the stenographic script and also an exact rendering of the word, “Plunder” is the work of the acclaimed Chicago-based artist Tony Lewis.
Artist Theaster Gates expands his repertoire to encompass urban renewal, through an ongoing endeavor to rebuild blighted sections of the South Side community in his hometown, Chicago.
The Huntington Theatre Company is presenting an exuberant and stylish production of “Tartuffe,” a 17th-century farce by by Molière, one of France’s greatest dramatists. On stage through Dec. 10 at the Avenue of the Arts/Huntington Avenue Theatre in Boston, the production turns this tale of a wily con artist posing as a holy man into a buoyant contemporary comedy.
Museum traces path toward justice and freedom for African Americans
The largest institution dedicated to African American history and culture, the National Museum of African American History and Culture starts its story in the 1400s, when African peoples took part in transatlantic trade with countries on other continents. Displays and wall texts follow the money, and the gradual growth of the fiction that Africans were not equals and could themselves be traded as commodities.
Irma Thomas, Blind Boys of Alabama perform
The Preservation Hall Legacy Quintet wasted no time getting down to business Friday night at Berklee Performance Center as the first of three powerhouse acts in a concert presented by World Music/CRASHarts. The program also showcased another homegrown New Orleans icon, Irma Thomas, and a revered gospel group, the Blind Boys of Alabama. What these musicians have in common are African-American musical traditions rooted in their communities—its churches, celebrations, and clubs; fluency in this tradition’s many musical veins, including blues, soul, jazz, gospel and R&B; and decades of experience, awards and industry accolades.
Company to perform ‘Obsidian Tear’ and ‘Fifth Symphony of Jean Sibelius’
Coinciding with the 100th anniversary of Finnish independence from the giant at its border, Russia, the program presents the North American premiere of Wayne McGregor’s “Obsidian Tear” and the world premiere of Jorma Elo’s “Fifth Symphony of Jean Sibelius.”
Black and white dominate the palette of Kara Walker, an artist whose room-size murals, sculptures, videos and works on paper focus on the still-corrosive legacy of slavery in American life.