Lecture performance, 110 minutes with intermission. This lecture performance began with what I considered good journalism. In December 2015, American Theatre magazine hired me to write an article on the Goodman Theater’s adaptation of Roberto Bolaño’s novel 2666. Robert Falls, who’d steered the project to fruition, told me a remarkable story about how it all
The first time I really made note of the Grove Press imprint was the spring of 1998. I was most of the way through my freshman year of college, and it wasn’t exactly going well. Not that my grades weren’t good, but I was essentially lost and without direction. In high school in the suburbs
I moved to Seattle late in the summer of 2003, with my partner who was enrolled in the University of Washington’s graduate program in economics. It must have been late August, maybe even the first weekend of September, when we loaded up a U-Haul full of stuff in Eugene, Ore. I drove, with her parents
“At that moment it seemed to the teacher as if a sudden, perfectly orchestrated silence fell over Calle Rubén Darío: radios were turned down, the chatter of the living was suddenly muted, and only Cesárea’s voice was left. And then the teacher saw or thought she saw a plan of the canning factory pinned to
“Guerrero, at that time of night, is more like a cemetery than an avenue, not a cemetery in 1974 or in 1968, or 1975, but a cemetery in the year 2666, a forgotten cemetery under the eyelid of a corpse or an unborn child, bathed in the dispassionate fluids of an eye that tried so
What an exhausting few weeks it’s been! I’ve been to Austin, Toronto, and out and about in NYC. This weekend I head to Chicago for a business trip. And in between I celebrated my birthday with a lovely pub-and-bookstore crawl across Brooklyn. So I’m rather tired. But with all that said, I wanted to share
So there’s two shows that, I think, have become audience favorites for Fusebox 2016: Bronx Gothic and Dickie Beau: Unplugged. Or, at least, that’s the result of my unscientific polling around the hub last night, as well as my own personal experience. I saw Bronx Gothic when it premiered in New York and was wowed
It’s day number four of the Fusebox Festival, and I’m feeling that festival exhaustion start to set in a bit. The run-around intensity of seeing shows, chatting quickly with people, making way between venues, then drinking at the hub at night…it takes it out of you! The same thing happens to me every January in
Tonight, the LA-NYC performance group My Barbarian present the latest iteration of Post-Living Ante-Action Theater (PoLAAT) at the festival hub, in participation with their residency at UT Austin’s Visual Art Center. Straddling theater and visual art performance, the group do provocative work, and I’m excited to get to experience PoLAAT, which was developed in New
Workin' #fieldguide #standup A photo posted by Rude Mechs (Austin, TX) (@rudemechs) on Mar 15, 2016 at 5:55pm PDT Last night I caught the opening of the Rude Mechs’ Field Guide, a bizarre, devised, loose adaptation of Doestoevsky’s The Brothers Karamazov. Perhaps most notable about the production design is that fact that scenic design–consisting of