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Filtering by Tag: Mike Daisey

527 Dog Years: Mike Daisey Tells "A People's History"

Chris Klimek

Class is in session. (Darrow Montgomery for the Washington City Paper)

Class is in session. (Darrow Montgomery for the Washington City Paper)

Mike Daisey is an artist I've written about more often and in greater detail than only anyone else. He's certainly the artist with to whom I've spent the most time speaking directly. The reviews I've written of his monologues and the features I've reported about how he creates them and editorial I was once moved to write in his defense all reflect my great admiration for his work.

That has not prevented me from condemning him when I think he's deserved it, and he did do something that warranted condemnation, years ago. I will say that in the third year of a Donald J. Trump administration, it seems awfully quaint that so many journalists who had never publicly discussed theatre at all before they lined up to express their outrage at Daisey in the spring of 2012 got so steamed over a guy who tells stories in theaters for a living taking some liberties with one of them.

Anyway, Daisey's wildly ambitious current show A People's History—an 18 part retelling of American history circa 1492-to-now, based heavily on the work of Howard Zinn but also on Daisey's own life—is the subject of my second Washington City Paper cover story about him, available today wherever finer Washington, DC alt-weeklies are given away for free. My 2012 WCP story detailing the problems he created for himself with his show The Agony and the Ecstasy of Steve Jobs, and his effort to remedy them, is here. In fact, all of my writings about Daisey are mere clicks away! How much time do you have?

Dealer's Choice: The Trump Card, reviewed.

Chris Klimek

Mike Daisey performs  The Last Cargo Cult  at Woolly Mammoth in 2010 (Stan Barouh).

Mike Daisey performs The Last Cargo Cult at Woolly Mammoth in 2010 (Stan Barouh).

This took a few days longer to appear than it should've, for boring reasons only partly within my control. Anyway, last Friday I attended a workshop of a new monologue by Mike Daisey — an artist I've written a lot over the last six or seven years. I didn't find room in the piece to mention that the monologue was directed by Isaac Butler, who has been doing some terrific writing on the theatre for Slate. The oral history of Angels and America that he and my sometimes-editor Dan Kois posted this week is marvelous piece of historical journalism. Anyway, my Washington City Paper review of the still-developing The Trump Card is (finally) here.

Our Pottymouthed Year: 2013 on the DC Stage, Assessed.

Chris Klimek

Drew Cortese and Quentin Maré in Studio's The Motherfucker with the Hat. (Teddy Wolff)

We're wrapping up a highly rewarding and admirably trend-resistant year on DC's stages, as I aver in this week's Washington City Paper.

The Tyranny of the Written Interview: A Transcribed Conversation with Monologist Mike Daisey

Chris Klimek

Mike Daisey. You can trust the man who wears the beard, as long as he isn't singing.

Mike Daisey. You can trust the man who wears the beard, as long as he isn't singing.

I've written about monologuist Mike Daisey a lot in the last four years, but especially last year, in the wake of damaging revelations about his show The Agony and the Ecstasy of Steve Jobs.

He and I met again at Woolly Mammoth Theatre Company, his performing home here in DC since 2008, last Friday to talk about his new piece, American Utopias, which I review in this week's Washington City Paper.  I've just posted an edited, partial transcript of that talk up on Arts Desk.

FURTHER READING: Hoo boy.  My 2009 review of Daisey's How Theatre Failed America. My 2010 preview of The Last Cargo Cult. My initial reaction, from March 2012, to The Agony & Ecstasy of Steve Jobs controversy, and my reaction to Daisey's reaction.  Finally, my July 2012 City Paper cover story about Daisey's return to Woolly Mammoth to perform a revised, fabrication-free version of Agony & Ecstasy.

"I haven’t had any undecided moments in my life." Talking Capitalism with Henry Rollins

Chris Klimek

I've had the privilege of speaking with the great raconteur Henry Rollins a few times now. When I interviewed him in 2008 about his plan to play the Birchmere on Election Eve, we spoke in September, several weeks before the show. He was predicting at that time John McCain would be elected president. A few days after our conversation, Lehman Brothers collapsed, the fiscal dominoes started falling and the dynamic of the race changed dramatically.

Once again, Rollins will be speaking here in DC -- in DC, where we don't have voting representation in Congress; not the "DC area" this time, at the 9:30 Club -- the night before America chooses a president. I'll be there. I was surprised to learn when we spoke the other week that he hadn't heard of Mike Daisey.

The interview is on Washington City Paper Arts Desk today.

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