I haven't seen WSS b/c not being a critic anymore means again not being able to afford to see much theater (another rant for another day) but ever since doing an interview with IVH before my departure from the critical realm, I've been deeply, sadly soured on him...
Hey friends, hey world — I have a thing to share.
At the end of this month, after two years on the job, I'll be stepping away as theater critic for
@NYMag
and
@vulture
.
I've got plenty of thoughts in my head, and perhaps some of them will find their way into words soon.
I don't object to auteurship as an idea. In fact, I love it. But I'm ready for new auteurs, and for the concept to be unlinked with superiority, tone deafness, and, frankly, masculinity.
In short: This review is rad. And also, hire women to fuck with the classics. Holdren OUT.
This is it — my final (for now!) review. I am ecstatic that it's of
@willarbery
's wildly great Heroes of the Fourth Turning. And I am, now and always, so grateful to
@NYMag
&
@vulture
. Now, on to worlds elsewhere (tomorrow, Venice — in December, Illyria!)
Chiming in from a field in VT to say that this "former" director is finishing an apprenticeship with Bread & Puppet + prepping for 3 upcoming shows. Please fact check. It saves me from having to come to this godawful site to remind folks that being more than 1 thing is possible.
Look. Y'all know I'm gonna dig Head Over Heels. It's joyful, zany, full of love and ruffs and mermaids and people dressed as sheep, and makes jokes about eclogue. Also! If you're preemptively and rightfully mourning SpongeBob's closing, this one's for you.
I love Shakespeare more than Most Things, and I would have cancelled Shakespeare in the Park a hundred times over before touching Under the Radar.
"Oh the theater is dying, the theater is dying!" Cool maybe we should stop actively killing it.
Hell yeah,
@Helen_E_Shaw
. Wishing you the very best and applauding
@NYMag
/
@vulture
for not missing beat on the theater beat. Helen and I sat on a panel together once and her effortless eloquence was intensely impressive. Also, she likes weird shit. Huzzah!
All this is to say, I'm thankful for
@Helen_E_Shaw
today. Even when I've admired Ivo's work, I've always considered him a director devoted foremost to image. If actors aren't uniquely brilliant powerhouses or long-trained members of a European company, they are left "exposed."
7 kingdoms? 6 kingdoms? Nah, it's all about 8! Octet is a beautiful new musical and, for the sake of the world and my neuroplasticity I probably shouldn't be tweeting about it, but here goes anyway. (🎭>🐲⚔️)
Hey y'all, I'm a director AND a critic. So honored and thrilled to be returning to the wonderful
@TwoRiverTheater
to direct TWELFTH NIGHT (or, what you will!) in their 2019/2020 season.
Next season at
@TwoRiverTheater
: The company where BE MORE CHILL debuted in 2015 will premiere a new musical by
@MrJoeIconis
, as well as a TWELFTH NIGTH directed by
@swholdren
.
Not so much a review as a conversation about Slave Play. Thank you to the brilliant Taylor Barfield for speaking with me about this huge and haunting play.
... to have him answer my question about his signature incorporation of video/live-feed with (paraphrasing): "because the technology exists and not to use it would be silly."
I just.
I.
Saw first post-critic-life show tonight and realized about 15 minutes in that the extreme sensation of phantom limb awkwardness I was experiencing came from not holding a notebook and pen.
Thank you to everyone who's carried on a mental conversation (or argument!) with my work. Thank you to
@NYMag
for taking theater and theater criticism seriously, for maintaining a place for a writer to speak at length and in depth about this form, and to make a living doing it.
Shakespeare nerd take: Hadestown = Much Ado About Nothing. One couple—doe-eyed—drives plot, the other couple—worldly—provides character. It's hard to get totally on board with the plot couple (especially cuz the dude just... fucks things up), but the character couple is 🔥🔥🔥
SO. I don't officially start back
@vulture
until mid-August. Just enough to time to escape to
@edfringe
for a whirlwind tour! Tell me, friends, what should I see? What mad, brilliant things are being made outside the long crumbling of The Big Institutional Middle? Recs please!
... but as an artist and an enthusiast in the field where he has so much power and freedom, it was a major bummer to hear chilly, rote, this-is-beneath-me answers to every question; to hear him describe Ramasar repeatedly as "acquitted" (uh); and (I'll never forget this)...
Can we just give a Tony to every Best Featured Actress in a Musical nominee? Come on other categories — which four of you want to take one for the team and give up your statues to see justice done?
Let it be known that my "Tonys for all the Best Featured Actress in a Musical noms!" tweet was erroneously based on Time Out NY's predictions not the actual noms. Am I publicly stressed and confused? Yes. Do I have OPINIONS on the (overall) actual noms? Also, *grinds teeth*, yes.
When
@nwalks
calls, YOU SUIT UP AND ROLL OUT. I'm honored to be a part of these shenanigans on Thursday, where we'll get real about who shoulda gone home with little gold statues last weekend. (Hint, their names rhyme with Tidy Trek.) See you there, sports fans!
I've been all over the map with his work, have seen things I thought were great, meh, and burn-down-the-theater bad. But talking to him was, more than anything else, depressing. I'm no hard-hitting journalist and pushing interviewees is NOT in my skill set...
But first thing's first: I'm so grateful to
@NYMag
, to Adam Moss, and most especially, to the actual superhero
@heybonanos
— my editor, cheerleader, therapist, colleague, and friend of two years, who made me a better writer with every piece, every conversation, every suggestion.
— for more variations on it; more support for it; more creativity, nuance, and responsibility from it; and more crossover between it and the artistry it grapples with.
I'm not done writing.
We need more places like the one where I've been honored to work. Meanwhile, I'm so excited to see who comes next for
@vulture
. And what comes next for me.
That's it for now. So, no more ado.
Let's go.
[She goes.]
If you just heard the sound of my heart shattering into a hundred infuriated pieces, it's because I just found out Baz Luhrmann has the movie rights to The Master and Margarita. THIS IS WHY WE CAN'T HAVE NICE THINGS.
@TheLivingMJ
Calm down. It's obviously meant in jest. But it's also a joke based on the fact that this show, as do several others this season, traffics from the get-go in a huge cliché. To point that out is hardly a demand for a croissant.
It's been a privilege, a challenge, and an adventure to see my profession and passion from another perspective — and to believe more firmly with each passing day and each eliminated critic post in the need for that perspective —
If you're tired of watching Bran be a raven (and if you're not tired of that we might not have much to say to each other), watch Cillian Murphy be a crow.
These students are the ones teaching. Humbled to write for a place that's amplifying them.
@Columbia
, the students you're suspending deserve the Pulitzers you'll be handing out next week.
.
@NYMag
's new cover package, in partnership with the
@ColumbiaSpec
, is an intimate look at the events on the ground at Columbia University in the midst of antiwar protests. It is written and photographed entirely by staff at the Spectator. Read more:
And Here It Is!*
*Also, at the encouragement of
@heybonanos
, currently working on my dissertation — Cannibals, Capitalists, and Ladies Who Lunch: Comestible Metaphors in the Works of Stephen Sondheim
Theater review: Sondheim’s final offering to the world, the long-time-coming new musical Here We Are, is a fittingly complex and thorny one - writes
@swholdren
It's Anton Chekhov's birthday. Long for the life you don't have. Engage in unrequited or doomed love. Yearn for Moscow. Praise art. Drink vodka. Write sad comedies.
Angels in America premiered when I was 5 years old and much of it takes place in the year and month I was born. Unlike me, this miraculous play hasn't aged a day.
For anyone who's wondering what I mean when I talk about wanting to see more "messy" plays, this is what I mean. Dance Nation is brave and raw and exhilarating and you should see it.
Had a nightmare of a revival of A Chorus Line & the opening number was done via isolated ring lights and self tapes and it was just really no.
@vulture
tore it to shreds, called it cold & heartless, said I’d never work in this town again…and that was how I learned I directed it.
Also (spoilers I guess?) did anyone else who saw Little Women after Parasite find themselves really worrying that Saoirse was gonna get stabbed during the final cake montage? 😅
I feel like we're in a particular moment when a lot of theater "classics" are reaching their expiration dates. How their lives can be extended and who's capable of doing it (and the value of trying at all) are what fascinates me. TL;DR: KM,K feels... Old.
It's my third go-round with the brilliant What the Constitution Means to Me and
@irin
's first, but she literally wrote the book on RBG. We had plenty to talk about!
Here it is, friends. The third and final festival diary. 26 shows in 18 days, and so much to be thrilled about. Hats off to all the artists and producers who have, against all odds, filled January with such fire! It's been a RIDE. (Excerpts below!)
The fact that some people would rather take this moment to shake their heads and say, "Well but you knowww, people are going to be racist / sexist / antisemitic / whatever" is MIND BLOWING to me. It smacks of 2016 all over again: "Oh of course *I* want her to win but it's just...
Knock knock! (Never at quiet.)
HEY! What theater is coming up this summer that you're really excited about??? (NYC or adjacent but also, heck, tell me everything!) 🌿🌸☀️
ABSOLUTE HARD COSIGN. Thank you,
@kvanaren
, for this tribute to the show I've been trying to force everyone I meet to watch for years (it comprises roughly a third of my reference library, so...) – now on Netflix, so you have no more excuses!
via
@vulture
@wyszniewski
I am just consistently astonished (but why at this point) at the lack of vision being displayed by these huge institutions. Everyone is in a massive panic, yes. But the number of things and PEOPLE that are just getting axed left and right? It's well and truly f***ed.
@McHenryJD
@RobKendt
Once heard Tom Stoppard answer a long, rambling Q&A "question" with: "In my experience, a question is usually a short string of words with a question mark at the end of it."
Despite embodying the CROWNING INSULT in Didi and Gogo's battle-of-abuse, I was pretty delighted to visit Godot again. I mean, not Godot personally. He didn't come. Next time maybe.
It was a dream and an honor to chat with Tom Hollander, whose brilliant performance in
@TravestiesPlay
is Tony-nominated and whose career I've been following since... Uh, a long time.
Abe Koogler’s play ‘Staff Meal,’ at Playwrights Horizons, is a play about restaurant-making that’s likely to resonate with any underpaid, overwhelmed, hyperpassionate, exhausted creator.
Yesterday was a remarkable day. I was and am deeply honored and grateful to receive the 2016-17 George Jean Nathan Award (not pictured), and more grateful still to the wonderful folks (inc. my dear parents -- pictured!) who came to see it go down... (1/2)
Last night I dreamed I was having a very deep conversation with Reg from
@stereobway
. At one point he said, "You gotta believe in marriage, man!" and then I asked him if he'd seen The Eternal Moment...
I have a piece of writing coming out tomorrow for the first time in... a long time. There are buds on the trees in Richmond, Virginia. Wherever you are, I hope you're hanging in there. Time to March.
@wyszniewski
I've also been thinking about all the empty spaces. These glorious cavernous rooms that will just be... dark. Surely one could figure out an imaginative way to keep them alive? Give me (or any artists!) the BAM Harvey with no tech and all the lights on for a week and watch me GO.