Use the form on the right to contact us.
You can edit the text in this area, and change where the contact form on the right submits to, by entering edit mode using the modes on the bottom right.
123 Street Avenue, City Town, 99999
(123) 555-6789
email@address.com
You can set your address, phone number, email and site description in the settings tab.
Link to read me page with more information.
search for me
Filtering by Tag: The Washington Post
David Rawlings and Gillian Welch (Alysse Gafkjen)
I spoke with the great Gillian Welch about one of my favorite subjects — setlist-making — and about how she and David Rawlings put a (great) song called "Hashtag" on a (great) album otherwise populated by (great) tunes with titles like "Lawman," "Turf the Gambler," and "Howdy Howdy." For The Washington Post.
Maui and Moana return in Moana 2, a film as inspired as its title. (Disney)
The Disney musical sequel Moana 2 is, like David Lynch’s surreal adult masterpiece Mulholland Drive before it, a repurposing of material originally intended for the small screen. My Washington Post review is here.
Jillian Ebanks, Breon Arzell, Max Thomas, Tamieka Chavis, and Arlietta Hall. (Teresa Castracane)
The Second City’s first show at Woolly Mammoth, Barack Stars, from those heady first months of the Obama Administration, was the subject of one of my first reviews for the Washington City Paper. My Washington Post review of their latest, offered in more dire times, is here.
Isabel Van Natta and Karan Brar in the tech thriller Data. (T. Charles Erickson Photography)
Imagine, if your capacity for speculative, blue-sky doomsday pessimism can possibly conceive of such a scenario, the union of a morally flexible tech oligarch and a U.S. government hostile to immigration and intolerant of dissent.
My Washington Post review of Data, playwright Matthew Libby’s world-premiere thriller at Arena Stage, is here.
Robin Wright and Tom Hanks get decades shaved off by an A.I. tool called Metaphysic Live in Here. (Sony)
On Here, the reunion of Forrest Gump principals, for the Paper of Record.
Lots here about Bob Zemeckis’s obsession with still-janky digital de-aging tech. Spike Lee’s 2020 war-vet drama Da Five Bloods achieved more stirring results by making no attempt to hide its 60-something-year-old cast members’ ages in the flashback scenes set during their combat tours in Vietnam half a century prior.
I’m rooting for Zemeckis. Flight is great. I liked Allied, his 2016 WWII espionage thriller that no one saw, too.
Cole Taylor and Caro Reyes Rivera as those star-cross’d young lovers. (Erika Nizborski)
You know that game where you try to think of old movies or plays where the introduction of cell phones would spoil the plot? Romeo and Juliet has always seemed like an obvious one, but Raymond O. Caldwell, director of the Folger’s season-opening update of the tragedy, begs to differ. My Washington Post review is here.
Tony Award winner John Rubinstein in Eisenhower: This Piece of Ground. (Maria Baranova)
My joint review of Ford’s Scott Bakula-starring production of Mister Lincoln, and of Olney’s show about the president elected four score and seven years after his assassination, Eisenhower: This Piece of Ground, is up at the Paper of Record.
Nicole Ruthmarie and Charles Franklin IV in Spooky Action’s Cracking Zeus. (DJ Corey Photography)
Greek myth and anti-drug messaging collide in Cracking Zeus, a new(ish) play by Christopher T. Hampton that has some intriguing ideas but doesn’t fully cohere in Spooky Action’s production despite several strong perfomrances. My Washington Post review is here.
