In the arts this week, I wrote a long review of the William Christenberry photography exhibit at the Gibbes Museum of Art. It’s a fine exhibit showing the artist’s range of technical mastery. Problem is, the lighting in the museum is so bad, it’s hard to see it.

Kinsey Labberton reviewed Always…Patsy Cline, the latest production by the Village Playhouse. She writes that, “Vintage dresses and bouffant hair do not a Patsy make. You don’t have a show unless you have the voice. Fortunately, Lindsay Luden Welch, star of the Village Playhouse production of Always…Patsy Cline, has the pipes to revive the iconic country legend.”

James and the Giant Peach came alive on the stage last week. It was a good show, especially for children, says theater critic Will Bryan, but there were many technical issues that are difficult to overlook given that tickets were on the high side.

Over at the City Gallery, one of Charleston’s high profile spaces, sculptor Orna Ben-Ami offers an exhibit called The Softness of Iron that visual arts critic Kevin Murphy calls is severe yet hopeful, “beautiful yet haunting. They make you feel at home. And yet they pull the rug from beneath your feet.”

Online, we have a book review of Charles Burns’ Black Hole, out now in paperback. Critic Jason Zwiker notes Burns’ use of sexually transmitted disease as a metaphor for adolescence.