Talk to the Hansard: Marketa Irglova at the 9:30 Club, reviewed.

I’ve seen The Swell Season perform twice. One of those shows was an opening set for Damien Rice about six months before the film Once came out in the States, dramatically raising their profile. I’ve seen male-half-of-the-Swell Season Glen Hansard’s longtime band The Frames play a great show to a half empty 9:30 Club, too.

Anyway, the Paper of Record sent me to the 9:30 Club the other night to cover Marketa Irglova’s first solo tour, supporting her debut album Anar. My conclusion? She’s a great singer but too humble a performer to sustain interest through a headlining-length set, and the songs she’s writing without Hansard all seem to share one, slow tempo. To be fair, I don’t think Hansard’s as good a songwriter on his own as he is when collaborating with her, either. Here’s the review.

Filmspotting No. 374: On Alexander Payne’s The Descendants, plus our Top Five Movies About Movies

Happy Thanksgiving, everybody! The new episode of Filmspotting, wherein Adam Kempenaar let me sit in to talk about Alexander Payne‘s The Descendants with him and then revisit the very first Top Five topic ever discussed on the the show — Movies About Movies — is available for your listening pleasure. Don’t go trampling any Wal-Mart greeters to death tomorrow morning in your pursuit of holiday bargains, now.

Hey, I Like the Quarry House, Too: Kid Rock at the Fillmore, discussed.

So the Washington Post sent me to a Kid Rock show. One of the best things about working as a critic is that it forces you to broaden your taste! It was my first visit to the Fillmore Silver Spring, the new Live Nation concert venue across from the AFI Silver Theater that finally opened its doors two months ago after years of preamble. Here’s my report of what all went down.

Kid Rock is 40 years old. His most recent album, the year-old “Born Free,” was produced by late-career rejuvenation specialist Rick Rubin and evokes 1970s Bob Seger more than it does the Clinton-era rap-rock that made Rock a multiplatinum star. He hasn’t been arrested at a strip club or a Waffle House in years. He’s recorded a duet with Sheryl Crow. Twice, actually.

But chin-and-middle-fingers up, Kid Rock fans. While these harbingers of mortality are unmistakable, Rock’s 105-minute set at a tightly-packed Fillmore Silver Spring last night demonstrated that maturity hasn’t laid its liver-spotted hands on him just yet. Continue reading

Hurts So Good: Theater J’s After the Fall, considered.

Theater J’s new production of Arthur Miller‘s What? No, it’s not about me; you’re an imaginationless churl merely to suggest it play After the Fall is a staggering work of heartbreaking genius. I reviewed it in today’s Washington City Paper, along with Studio Theater’s busy U.S. premiere of Roland Schimmelpfennig‘s The Golden Dragon, which does Rorschach’s After the Quake, which I liked, one better in the the opaque-animal-metaphor interpretation derby.

As ever, your mileage may vary.

Deleted Scene: Hayes Carll

Hayes Carll's devotion to the songwriter's art entails contemplating sex with Ann Coulter if necessary.

I’m a big fan of Austin singer-songwriter Hayes Carll, whose work I have written about before. I talked to him last week for Washingtonian; you can read that here. In honor of his appearance at the Birchmere tonight, I’d like to share a question I asked him when last I interviewed him, in June of this year. I wasn’t able to use what he said in the piece I wrote then, so here it is now for you enjoyment and/or edification. Take it away, Me. Continue reading

We’ll Always Have Aliens: My Boyhood Pal Grew Up to Be a Master Tale-Spinner

What a treat and a privilege it was to catch up with my boyhood pal Jeff Simmermon so I could write about his return to DC to bring his storytelling series And I Am Not Lying (an offshoot of his eponymous, very amusing blog) to the Black Cat. Continue reading

I Wanted to Ask You: A Conversation with Matthew Sweet

Matthew Sweet, photographed by Matthew Sweet

I chatted for a minute with Matthew Sweet about the 20th-anniversary-of-Girlfriend tour he’s bringing to the Birchmere tomorrow night, for Washingtonian. It’s my first piece for them.

I’m Told “Little Person” Is the Respectful Way to Refer . . .

Kris Medina and Maude Mitchell

. . . to people who display the physical characteristics common to all the male actors who appear in Mabou Mines DollHouse, which is at the Kennedy Center for a brief run this weekend. I wrote it up for the Washington City Paper.

Dept. of Excess: The Top Five Things I Forgot to Say While Presenting My Top Five Remakes List on Filmspotting This Week

I’ve written at least 150 concert reviews like this one for the Washington Post in the last five years. The format is very short: 250 to 300 words is your usual allotment; sometimes more, but usually not. I’m not crazy about the level of compression that requires, but it does keep you in the happy position of having more opinions than space.

I was thinking about this for the last couple of weeks as I prepared for one of the most exciting jobs that’s ever come my way: the chance to guest-cohost my favorite podcast, Filmspotting, which I’ve praised here before. (You can listen to the episode here or get it from iTunes here. The co-hosts of the episodes immediately prior to mine were two of the sharpest film critics in the game, my friend Michael Phillips of the Chicago Tribune and Dana Stevens from Slate, whose writing I’ve long admired. So, you know, no pressure!) I don’t have much on-air experience yet, so I haven’t developed an awareness of how many seconds I need to express an idea verbally. But I do know broad/podcast media is very unforgiving of contemplative pauses and of digression, both of which are characteristic of the way I talk in real life. Continue reading

Waiting for the End of the World: Woolly’s A Bright New Boise and Active Cultures’s Hellspawn, considered

Michael Russotto and Joshua Morgan in A BRIGHT NEW BOISE

Woolly Mammoth opens their Apocalypse-themed 32nd season with Samuel D. Hunter‘s surprisingly empathetic comedy A Bright New Boise. My City Paper review is here. I also wrote about Active Cultures’s Halloween trio Hellspawn in this week’s issue, available wherever fine newsweeklies are given away free.

Do the Pain Revolution: Wherein I Join the Pop Culture Happy Hour Crew for a Sober Discussion of Real Steel, and also of the Rather Startling Ascendancy of Robot Boxing Generally

I teach a weekly boxing class. Though I do cover the fundamentals of the Sweet Science, and participants do get to glove-up and practice punching combinations with partners holding focus mitts, it’s primarily a fitness class, not a curriculum for someone who’s serious about trying to compete in the ring.

I hope you’ll agree those credentials are at least (and perhaps at most) sufficient to lend my discussion of Real Steel, and of the exciting new sport of robot boxing in general, a certain authority. At least the NPR Pop Culture Happy Hour crew — Monkey See blogger & show host Linda Holmes, Music Editor Stephen Thompson, Movies Editor (and my fellow Washington City Paper theatre critic) Trey Graham, Producer Mike Katzif, and books & comics critic and funniest-man-on-Twitter Glen Weldon — saw it that way. I was honored to join them on this week’s episode, wherein we gab about the very best robot boxing movie I have ever seen. Continue reading

Toad to Redemption: Rorschach’s After the Quake, reviewed

Dylan Myers plays a giant toad (Photo: C. Stanley)

Rorschach Theatre’s great Jessi Burgess-directed version of The Bard of Avon was one of the first plays I saw in DC after I moved back here from Los Angeles near the end of 2005. I’ve kept tabs on that company’s work since then. I’ve always admired their ambition, even when I haven’t loved the shows. I was not at all a fan of Living Dead in Denmark, the last piece I saw from them, more than two years ago, but I was always pulling for them to overcome their venuelessness and other troubles and make a strong comeback. That’s what their new production of After the Quake is, as I aver in today’s Washington City Paper.

And the Mekons Shall Inherit the Earth

Sally Timms sings "The Letter." In real life, she appears in-focus.

I’d never heard of the Mekons until Jon Langford — the long-lived art-punk collective’s nominal frontman — appeared on this 2002 This American Life episode. I quickly procured a trio of the albums the group made during the 1980s – Fear and Whiskey, Edge of the World, and Rock and Roll — and I was sunk.

Their sit-down acoustic set at IOTA last night was mostly devoted to Ancient and Modern, a new album I hadn’t heard prior to the show. Didn’t matter. Read all about it.

Studio’s naked LUNGS

Ryan King & Brooke Bloom in LUNGS

Studio Theatre’s new Lab Series — presenting stripped-down productions of new work — is off to a strong start with Duncan Macmillan‘s Lungs, a frantic conversation on the subject of parenthood and all other ‘hoods.

My Washington City Paper review is here.

And Still More on Elvis Costello’s Spectacular Spinning Songbook

Elvis Costello and the Spectacular Spinning Songbook at the Warner Theatre last night.

Surely you know all about Elvis Costello‘s fantastical, angle-free song-selecting device. I wrote about some of the lesser-known jams it chose for him to play at Warner Theatre last night.

In 2008, I wrote about Elvis’s first Warner Theatre gig in 1978. (I wasn’t there, but I’ve heard it.)

Forum Theatre’s Mad Forest, reviewed

Dana Levanovsky, Mark Halpern, Stephanie Rosewell and Alexander Strain in Forum Theatre's MAD FOREST

My Washington City Paper review of Forum Theatre‘s production of Caryl Churchill‘s Mad Forest is here. Forum’s productions are always admirably ambitious, but this one largely failed to connect with me emotionally despite uniformly strong performances.

Marling and Me

British folk phenom Laura Marling.

And Now for Something Ever-So-Slightly Different: My Washington Post review of British folkie Laura Marling‘s concert at Sixth & I Historic Synagogue last night.

Taffety Punk’s Riot Grrrrl Much Ado About Nothing, reviewed

Kimberly Gilbert as Benedick


My Washington City Paper review of Taffety Punk‘s ladies-only Much Ado About Nothing is right here. I’m off to Chicago.

Stop Kiss: Sequence of Sorrows

Rachel Zampelli and Alyssa Wilmoth. (C. Stanley Photography)

My review of No Rules Theatre‘s fine production of Diana Son‘s Stop Kiss is in today’s Washington City Paper. Read it here.

Game of Koans: WSC Avant Bard’s Happy Days, appraised

Delia Taylor in HAPPY DAYS. Photo: Dru Sefton

My Washington City Paper review of the newly, pun-tastically rebranded WSC Avant Bard‘s production of Samuel Beckett‘s Happy Days is here.

Four years ago I reviewed the National Theatre of England‘s Fiona Shaw-starring production when it played the Kennedy Center.