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(Darrow Montgomery/WCP)
My profile of Branden Jacobs-Jenkins, whose play Appropriate opens at Woolly Mammoth Theatre Company tomorrow night, is in today's Washington City Paper. He says he's rewritten it since I saw its premiere at the Humana Festival of New American Plays last April, so I'm curious to see what's changed.
Lawrence Remond & Ryan Tumulty in Inventing Van Gogh. (C. Stanley Photography)
In today's Washington City Paper, I review two shows I mostly liked: Washington Stage Guild's Inventing Van Gogh and Theater J's The Argument.
You are alerted.
My first radio story will be broadcast today. You can listen to it here right now. The process of assembling and editing it was not all that much different from making these. Although in this case I had expert help -- WAMU managing producer Tara Boyle -- to make the piece sound better. The piece is about the starship Enterprise. That is, the impressively large, now-49-year-old model that appeared in every episode of Star Trek, 30 years before computer graphics became Hollywood's defacto visual effects methodology.
I initially imagined this segment as a Daily Show-style news package wherein I would feign indignation that an artifact as significant as the civilization-seeking, boldly-going Enterprise rates a spot only in the basement of the National Air & Space Museum. (Apparently they also have some spacecraft there that have actually flown in space.) That approach proved to a be little ambitious for my first time out of the gate.
I haven't spent enough time with the various spinoff series to get much of a read on them, but original-flavor Kirk-Spock-McCoy Star Trek is a thing I love. My favorite formal thing about the story is that I managed to use, chronologically, music from three eras of Trek: Alexander Courage's 1966 theme for TV series, two snippets of James Horner's score for The Wrath of Khan from 1982, and finally, Michael Giacchino's theme from the 2009 Trek reboot directed by J.J. Abrams.
Read MoreWon't someone PLEASE think of the children? Charlayne Woodard. (Igor Dmitry/Studio Theatre)
Charlayne Woodard is an actress and storyteller of no mean talent. I did not care for her solo show The Night Watcher.
Reviewed in today's Washington City Paper.
1968: Humanity learns the location of the Planet of the Apes.
Last year, a brilliant new play premiered at Woolly Mammoth Theatre Company called Mr. Burns, a Post-Apocalyptic Play. Everyone who reviewed it told their readers far too much about it. Everyone but me... he said modestly.
The cycle repeated itself when Mr. Burns opened last month at Playwrights Horizons in New York City. So I wrote this for the Village Voice.
Lou Reed was one the greatest American artists in any medium. Slate invited me to compile a playlist of 10 of his post-Velvet Underground songs as way for newcomers to sample his 40-year solo catalog. I was honored. You can read that here.
When Rolling Stone reported Lou's death at the age of 71 yesterday morning -- it's not like I knew him personally, but something about his songwriting, especially on The Blue Mask album from 1982 and everything afterward, makes me feel first-name intimacy with him -- I started tweeting my recollections as a longtime admirer. I was introduced to his work and his wry worldview by New York in 1989. I heard the single, "Dirty Blvd.," on the radio, and I got the CD from the Columbia House mail-order club.
Read MoreI review Stephen Spotswood's new play In the Forest, She Grew Fangs, as well as Aaron Posner's oddly inert new Romeo & Juliet for the Folger Theater, in this week's Washington City Paper. Available wherever finer alt-weeklies are given away gratis.
Oh, and the costume and props designer for And In the Forest is Jesse Shipley, not Jenny. My mistake.
