MEMORY of a FREE FESTIVAL
Being a drama in one act.
SETTING: The press tent of a large outdoor pop music festival in the suburbs. Not far from here. Not long from now.
CAST IN ORDER OF APPEARANCE:
RICHARDS, a music critic for a newspaper, about thirty
A WOMAN, perhaps thirty-five
A BALD MAN, maybe forty
MALITZ, Richards’s malnourished colleague, also about thirty
KLIMEK, a writer for a website, slightly older than thirty Continue reading
Rahaaleah Nassri and Erika Rose
Noted with Relief: Theater J’s In Darfur ‘s intentions aren’t the only thing that’s good about it. CP review commences:
Winter Miller’s In Darfur is one of those plays that seems at least obliquely to chronicle its own creation, like Moises Kaufman’s 33 Variations or Doug Wright’s I Am My Own Wife. In seeking to compress an unfathomable tragedy into a tellable story, Miller transfers her own pedagogical burden onto one of her three major characters: New York Times reporter Maryka (Rahaleh Nassri) has only days to turn up evidence of a genocide campaign backed by the Sudanese government before her editor reassigns her to a story with more established news value. “Are these good rebels or bad rebels?” Maryka’s editor wants to know, inquiring after the Sudan Liberation Movement. “They’re not great,” Maryka says. The difficulty of untangling the warring factions for Westerners hardens the Times’ reluctance. But Maryka has lucked into the ideal ambassador in Hawa, a teacher whose command of English gives her the ability to personalize the story for readers Maryka hopes will pressure their governments to act if she can get Darfur onto page one.
Read the complete review in the Washington City Paper.
Nancy Updike photo of Ira Glass appropriated from This American Life's marvelous website.
It’s not every day you get to talk with one of your heroes for half an hour. I interviewed Ira Glass 16 months ago for this thing. Presented here for the first time is the (mostly) complete transcript from which that piece was excerpted, albeit still edited to excise boring and/or redundant material. 3 . . . 2 . . . 1 . . .
Ira Glass began his public radio career as an intern at NPR in DC in 1978. But it was This American Life, the Peabody, duPont-Columbia, and Edward R. Murrow Award-winning weekly story anthology — mostly nonfiction, but with some fiction, too — he created in 1995 that’s made him famous, at least among public radio listeners. Continue reading
Aw, Hell, it’s already gone.
It’s been six days since my NEA Fellowship wrapped up in Los Angeles with ace program director Sasha Anawalt dancing to U2’s “Beautiful Day” (twice) while making her closing remarks to me and my 22 new best friends from media outlets around the country. The program was a 11-day motion blur spent talking about the nature and purpose of Art, and criticism, with journalists and theatre artists; of sobering reports of arts journalists (including many of the ones in the room) losing their jobs; of experiencing theatre; of being schooled in writing, but also in dancing and acting; of critiquing each other’s written work; of being isolated in a fancy hotel together; eating together; being bussed everywhere together; and of drinking together every night, accumulated sleep-dep and looming deadlines be damned.