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Ryan Destiny and Brian Tyree Henry as Claressa Shields and Jason Crutchfield. (MGM/Amazon)
If you don’t wanna take your folks or your grandma or your kids to Nosferatu (it’s good!) or Babygirl (haven’t seen it yet), and you want something more uplifting than A Complete Unknown (it’s good!), I endorse the boxing biopici. My Washington Post review is here.
Understandably the Paper of Record did not use my suggesed hed, —Ninety-Six Puppeteers — but my review of the touring production of the stage adaptation of Yann Martel’s Booker Prize-winning 2001 novel Life of Pi at the Kennedy Center through the holidays is in The Washington Post.
In the assembly of each yulemix, I reach a point where I realize it’s time to stop. This year it was when I was about to put in the lady yelling “JUDAS!” at Dylan in response to a Triumph, the Insult Comic Dog joke. CHRISTMAS TO CHRISTMAS, the Charli XIXth installment, hath dropped!
I managed to make on in 2016, and I managed to make one this year. Turn up! Those halls ain’t gonna deck themselves.
Creator/performer Patrick Page dances with the devils. (Julieta Cervantes)
I missed the by-all-accounts-world-beating King Lear that Patrick Page headlined for the Shakespeare Theatre Company last year, as press night was the night before my knee surgery. But I was happy to review his masterclass in skullduggery All the Devils Are Here: How Shakespeare Invented the Villain for the Paper of Record.
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.
Pedro Pascal and Paul Mescal get down to it. (Paramount)
“Gladiator was the one where Ridley Scott revived the sword-and-sandals genre that had been dormant for decades while also managing to suggest that our addiction to spectacle—one he himself had then been nurturing for 20 years—might not be altogether healthy, for individuals or democracies.
“Gladiator II is the one where he throws in a CGI shark. “
My Washington City Paper of the unlikely 24.5-years-later sequel 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.
