John Walter’s brilliant documentary, reviewed for DCist.
UPDATE 6/26/08: I got a nice e-mail about the review from Theatre of War director/editor John Walter, who reports that he is shopping the film around for a distributor. Best of luck to you, John! It’s a great documentary, and it deserves as wide a release as it can get.
John also sent this cool one-sheet image:
Posted in apocalypse, art, cinema, DCist, eavesdropping, hypocrisy, infamy, job insecurity, lederhosen, quagmires, rage, surveillance, theatre
Tagged Bertolt Brecht, Iraq, Nazis, Tony Kushner
The live CD/DVD release of Richard Thompson’s 1,000 Years of Popular Music show, shot and recorded three years ago, includes 10 of the roughly two dozen songs Thompson performed at Lisner Auditorium Wednesday night. Five-twelfths would be an acceptable, even generous, reply ratio for any tour but this one, wherein he has — What was it? Oh yes: 1,000 Years of Popular Music from which to choose.
My first Richard Thompson show was underwhelming; read all about it in the Paper of Record. I don’t want to sound like one of those jackholes who goes to a solo-acoustic Bruce Springsteen show and then yells all through because the E Street Band didn’t show up, or the guy who interrupted a moving performance of “Fallen” by Elvis Costello and Steve Nieve at Royce Hall a few years ago to bellow for “Pump It Up.” But for Thompson to play three or four of his own tunes at the end of the show would not have violated the show’s conceit at all: A guy who even half-fills Lisner is still “popular” in my book, even it he ain’t Nelly Furtado. And he had time, too. Minus the 20-minute intermission, Thompson performed for only about an hour and 45 minutes. Not a short show, but not a long one, either. Though it sometimes felt that way.
Well, not wrong, maybe; just not not a performance to convert anyone who wasn’t already a robe-wearing member of the Cult of Rufus. Miss Crooks loves him unconditionally, but even she had to admit that an all-standing venue was not the place for him to be playing a sleepy show like this.
The Paper of Record held my review for two days, perhaps (and if so, rightly so) to make room for Richard Harrington’s eulogy for Oscar Peterson that ran Christmas Day, so this didn’t see print until the Wednesday after this Friday-night concert.