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On Criticism

Critic/profilie writer par excellence Ken Tynan in 1966. Item No. 11 on my list should’ve been “Don’t smoke.”

So on Sunday evening I had the pleasure of talking with a dozen or so very smart high schoolers enrolled in the Shakespeare Theatre Company‘s Young Critics Program. They’ve seen and written about every show in the STC’s season this year, and heard from several other guest speakers. The invitation suggested a few topics and said I should be ready with material enough to speak for 30 minutes, with some additional time after that for questions and discussion. They wanted some basic biographical stuff and some inside-baseball stuff about writing for newspapers, but the part I was most interested in talking about is the basic set of principles I try to use when I write criticism.

I made notes. Since I already went to the trouble of typing them, I’d like to share them here.

I should acknowledge I’ve lifted at least a few of these from a talk my pal the great film critic Michael Phillips, currently of the Chicago Tribune, gave during an NEA fellowship I took part in in Los Angeles in 2009. Hail and thank you, Michael Phillips.

Also, please bear in mind I was trying to make my comments appropriate for an audience of precocious ninth-through-12th-graders. So people much smarter than I am, in other words.

Here’s what I said to them. Continue reading

Unnecessary Tributes: Die Hard with a Vengeance Is the Ultimate Summer Movie

“Shhhh, he’s saying we’re totally underrated.”

I’m a big admirer of Matt Singer‘s writing on film. Besides co-hosting the brilliantly titled Filmspotting SVU podcast — a streaming video-focused spinoff of Filmspotting, the long-running Chicago-based movies show I had the honor of appearing on a few times last year — he recently started Criticwire, a great blog about film criticism for Indiewire.

Each weekend, Matt sends a list of film critics a survey question and posts their responses the following Monday. I was thrilled to contribute for the first time to yesterday’s poll, on The Perfect Summer Movie. Almost every film I considered choosing for this honor did show up among the responses, suggesting strong generational (?) consensus on this issue. But I’m glad I went with a dark horse candidate. As always, I did a poor job of constraining my enthusiasm; Matt was kind to post an only slightly abridged version of my encomium — reproduced below in its breathless entirety — to Die Hard with a Vengeance. Continue reading

We Happy Few: Drive-By Truckers and Lucinda Williams at a mostly empty Merriweather Post Pavilion, reviewed

Lucinda Williams, badass

I am experienced. I’ve reviewed the great Louisiana songwriter Lucinda Williams for the Washington Post before, in 2007 and 2009.

I’ve also reviewed Drive-By Truckers, one of my favorite bands, for the Post in 2009, and I’ve interviewed Patterson Hood and Mike Cooley, the band’s two frontmen, separately for DCist, The Examiner, the Washington City Paper and Washingtonian. I was at DBT’s year-ending shows at the 9:30 Club last December, which were amazing.

Saturday night I covered the bill Williams and DBT shared at Merriweather Post Pavilion for the Post. It was a beautiful night and a good show. Too bad almost nobody saw it.

How the Pest Was Won: On Posner’s The Taming of the Shrew

WEST PRACTICES: Danny Scheie, Cody Nickell, and Kate Eastwood Norris (Jeff Malet)

In Deadwood’s poetically vulgar patois, Aaron Posner’s Deadwood-inspired new The Taming of the Shrew at the Folger Theatre is “beholden to no human cocksucker.” I review it in today’s Washington City Paper, available wherever finer alt-weeklies are given away gratis. Continue reading

Studio Notes: The Avengers (Joss Whedon, 2012)

Jack Kirby’s cover for THE AVENGERS No. 1, 1963.

Last Tuesday night I saw The Avengers, which Hulk-smashed box office records IN THE FABULOUS MARVEL MANNER over the weekend. It wasn’t the summer tent pole movie I’m most anticipating this year; Ridley Scott‘s Prometheus and Christopher Nolan‘s The Dark Knight Rises both have it beat by some distance on that score. But I’ve enjoyed most of the prior Marvel Studios movies (except for the dreary Thor, and The Incredible Hulk, which I haven’t seen), and while I’m no scholar of the oeuvre of Joss Whedon, the television auteur who is now The Avengers‘s writer and director, I liked Dr. Horrible’s Sing-Along Blog and his run as writer of The Astonishing X-Men comic book.

I have no particular affection for the source comics, the way I do with the various Batman and X-Men films, but I found the movie to be a very affable, funny, well-made early summer blockbuster.

Emphasis early. To my mind, the natural sequence in which summer action films should be consumed is salad in May, the slightly more substantial next course in June and the red meat in July. It’s been this way at least since 1991, when Hudson Hawk and The Rocketeer (both underrated) came out in May, Robin Hood: Prince of Thieves followed in June, and the never-to-be-surpassed greatest summer blockbuster of them all, Terminator 2: Judgment Day, came out July 3. Please do not make fun of the way I experience the world.

Sorry, what were we talking about? Oh, right: Here in no particular order are a few of the specific things about The Avengers that really worked for me, along with a few that didn’t. Continue reading

Repast is Prologue: Studio’s The Big Meal, reviewed, plus a Commedia Hamlet and a pair of Shavian sex comedies

Chris Genebach and Hyla Matthews in Studio Theatre’s THE BIG MEAL. (Carol Pratt)

With three reviews in today’s City Paper, you’d think all I did last weekend was go to plays*. Besides Studio’s wonderful production of Dan LeFranc‘s The Big Meal, I saw Faction of Fools‘s Commedia take on Hamlet, repurposed as Hamlecchino, Clown Prince of Denmark. Plus a Shavian two-fer from Washington Stage Guild. Continue reading

God of Carnage: The French Have a Word For It

I write in this week’s City Paper that Signature Theatre’s God of Carnage is an admirable, well-acted production of a thin play . I felt much the same way about their production of Art, from the same playwright, at this time last year.

Both plays were worldwide hits and Tony Award winners. So perhaps Yasmina Reza is French for “not for me.”

In Their Eyes, the Light of a Dawning Madness Is Shining: Condensed Stage Directions of Eugene O’Neill, Reviewed

Cara Francis, Lauren Sharpe, Erica Livingston, Brendan Donaldson (floor), Jacquelyn Landgraf, Connor Kalista and Daniel Burnam perform "Before Breakfast.

I reviewed the NYC Neo-Futurists’ contribution to Arena Stage’s Eugene O’Neill Festival, which focuses on the playwright’s habit of filling his plays with things that are impossible to manifest corporeally on a stage. I’ve written about the original, Chicago-brand Neo-Futurists on prior occasions.

We Get to Carey Each Other: Arena Stage’s Long Day’s Journey into Night, reviewed

The maid isn’t young or buxom in Arena’s Long Day’s Journey into Night, in defiance of Eugene O’Neill’s famously specific casting specs, but Helen Carey‘s unforgettable performance as Mary Tyrone makes it worthwhile.

Alabama Shakes in Baltimore

Alabama Shakes opened the great show I saw the Drive-By Truckers play at the 9:30 Club with Booker T. Jones on New Year’s Eve. Their debut album, Boys & Girls, dropped this week.

I reviewed Alabama Shakes’ headling gig at Ram’s Head Live! (sic) in Baltimore Saturday night for the Washington Post.

Bradley Beats Budos

And here‘s my Washington Post review of The Budos Band‘s headling gig at the 9:30 Club Thursday night. Wish I’d seen opener Charles Bradley’s full set, because when he returned to sing “Why Is It So Hard” with Budos during their encore he fairly mopped the floor with them. Continue reading

You Was My Brudda, Charlie, You Shoulda etc., etc.: On the Waterfront, the play, reviewed

I reviewed the American Century Theater’s production of On the Waterfront — not exactly a straight adaptation of of the Oscar-winning 1954 film written by Budd Schulberg and directed by Elia Kazan, but one of the several, separate versions Schulberg reworked for the stage beginning in 1995.

This one differs from the film in a few significant ways. Read on.

He Paid the Cost to Be The Boss: Bruce Springsteen and the E Street Band at the Verizon Center

"44 years of performing experience! 30 years of psychiatric evaluation!" Photo by Erica Bruce.

Last Thursday, I road-tripped up to Philadelphia for what I think was my 15th Bruce Springsteen concert (but only my 14th with the pants-droppin’, heart-stoppin’, Earth-shakin’, booty-quakin,’ love-makin’, Viagara-takin’ etc., etc. E Street Band) since 1999. Three nights later, I saw my 16th (15th) here in DC at the Verizon Center.

For the City Paper, I wrote up some thoughts on the DC show, which differed significantly from the Philly one as you can see from the handy setlist table I have prepared below. Clip it out of your iPad’s retina display and post in your cubicle as a source of hourly inspiration! Continue reading

Van Halen’d! Being an Account of the Verizon Center Concert Wherein David Lee Roth Addressed Alex Van Halen as “Frito Tiger,” Apparently in Reference to His Sunglasses

“I’ll be your substitute teacher for the remainder of the concert,” preened 57-year-old David Lee Roth last night, midway through Van Halen’s wry, spry two-hour gig at a sold-out Verizon Center. He was freestyling a new spoken interlude, as is his wont, to a resistence-is-futile Van Halen classic that already featured plenty of chitchat, “Hot for Teacher.”

Substitute? Puh-shaw! He’s the real guy!

This wasn’t Van Halen’s first tour with their cocksure original singer since they kicked him out of the band in the mid-eighties. Roth and the trio of Van Halens — guitar god Eddie, drummer Alex, and 21-year-old spawn-of-Eddie Wolfgang on the bass — made up and made a killing on the road in ‘07 and ‘08.

This time, Eddie kept his shirt on and instead flogged A Different Kind of Truth, the group’s first new album together since 1984 in 1984, approximately 125 Earth-years ago. Performed at detail-eradicating volume, the handful of new songs sounded enough like the circa 1978-84 warhorses dominating the set that no one seemed to notice. Roth’s attempt to get the mostly age-40-and-up crowd to sing “Tah! Too! Tah! Too!” during a new jam entitled, uh, “Tattoo” flamed out a lot faster than his post-Halen solo career did, though. Continue reading

Mike Daisey Returns to Woolly Mammoth So People Who Knew Who He Was Back Before That This American Life Episode Aired in January Can Throw Stones at Him If They Want

Wait, wait, I'm still apologizing! Don't start the music yet!

Mike Daisey appeared for a one-hour public Q & A session last night at Woolly Mammoth Theatre Company, the place where his controversial monologue The Agony and the Ecstasy of Steve Jobs was born — or, to use his creepy syntax, “birthed.”

It was an interesting hour highlighted by a fascinating exchange near the end, which I reproduce in my Washington City Paper Arts Desk post about it.

Wish I Were There: Ephemera

One thing I brood about when I read a really great memoir, like Keith Richards’ Life, just for example, is that I have a poor memory. There is no good reason why this should be. I’m only in my midthirties and I’ve never touched hard drugs in my life, so the fact that 70-year-old Keef can write in vivid detail about his postwar boyhood after a lifetime of committed drug abuse makes me feel like I just got dealt a bad hand. (Keef takes pains throughout his book to attribute his startling longevity to the fact that all the drugs he did were of the finest quality; Merck medical-grade cocaine and so on. I have no idea if that’s a real thing or not, but it’s in his book.) Continue reading

Pushing Daisey

BROOKE HATFIELD/Washington City Paper

More than 3,000 words later, I’m still sorting through my thoughts about what Mike Daisey has done. While I think it’s unfair to compare him to Jayson Blair or Stephen Glass, as many have, I’m still puzzled by my inclination to defend a guy who endangered the reputation of This American Life by lying to Ira Glass and Brian Reed to prevent them from fact-checking his story as thoroughly as they should have.

And yeah, as someone who has been a part of Daisey’s theater audience for years, I guess I could say he lied to me, too. I know a lot of people who paid to see (full disclosure: I didn’t pay for my ticket) The Agony and Ecstasy of Steve Jobs feel indignant on those grounds.

I don’t.

I don’t go to the theater for news, any more than I go to a dentist when I need my car serviced. Even when something is billed as “a work of nonfiction,” as this show was, I approach it skeptically. And I don’t consider myself an unusually cynical person. I consider myself to be the kind of person who, after seeing a show or a film or reading something that moves me and deepens my interest in an issue, then consults other sources. Continue reading

Eleven-punch combination

The guy who looks like Mr. Clean is Ken, a pal I’ve been working out with for years. He surprised me last night by setting up his camera at our semi-regular Tuesday-night focus mitt session. (We both teach boxing classes on Wednesday nights, so Tuesdays are a good opportunity for us to get some rounds in.)

Everyone likes to work mitts: You’re developing your speed, stamina, balance and punching power all at the same time, and you feel like you’re accomplishing something. A good partner will keep you motivated by swatting you on the ear or clipping your forehead if you get lazy and let your hands drop, a feature no heavy bag can offer. Continue reading

New Jerusalem, reviewed

Strain & Tolaydo in Theater J's NEW JERUSALEM.

I’ll just go ahead and admit I hadn’t heard of Baruch de Spinoza, or hadn’t remembered his name from Philosophy 101 a million years ago. But David Ives’s Venus in Fur was, I think, the best play I saw in DC last year, so when I had the opportunity to catch Theater J’s current remount of their 2010 production of Ives’s New Jerusalem: The Interrogation of Baruch de Spinoza, I fairly jumped at the chance.

The Fight Stuff: Selling the boxing in Studio Theatre’s Sucker Punch

Please read my feature in today’s Washington City Paper about the fight direction in Studio Theatre‘s U.S. premiere of Roy Williams‘s Sucker Punch.

It never occurred to me to check into this until I started working on this story, but did you know that there is no Tony Awards category, nor is there, closer to home, a Helen Hayes Awards category for excellence in fight direction? Madness!

If you live in or will be visiting Our Nation’s Capitol on a Wednesday evening, drop me a line and you can come to my boxing class for free just for mentioning this story. You don’t even have to read it, because how would I know? We’re on the honor system here. And only you know if you’re an honorable person or not. Continue reading