Edith Buxbaum: she also liked to cook.
While many people are certainly satisfied with the absence of a canon for radio drama, the lack of one has dismal consequences.
In this entry the Night and Day Film Noir series’ curator Bradon Ryan and the Star’s José Amador effuse all over Carol Reed’s production of Graham Greene’s script The Third Man, briefly delve into the film’s production history and somehow find themselves in the middle of discussing the worlds of Joss Whedon, the Terminator movies, the Rambo movies, and Mutiny on the Bounty.
In our post-Bush era, political theater is increasingly rare. In our remote, cozy and often smug city of Seattle it is rarer still. Anything encouraging Americans to get together in a group to solve problems is a general anathema. Stereotypes have hardened. Dialogue is emotional and without sense. Issues are treated not as matters to solve by consensus but rather to be solved by fiat. It is no wonder discussion feels polarized.
“Did you ever hear of ‘The Seattle Seven’? … That was me … and six other guys.”
An episode at the beach, courtesy of Nick Stokes.
Caryl Churchill is renown for not talking about the meaning of her plays in public. A positive result of this reticence is that her plays retain their complexity as works of art. A negative result is that there is a lot of pure rubbish written about them.
It refreshes the soul to go out once in awhile and watch students who still love, still care, still dream about making good work. But it is not only a pleasure to watch the students grow and take chances but also a pleasure to watch their teachers do work they would not otherwise get to do.
Cole Hornaday visits with the fiery ball of energy that is Yana Kesala, and talks with her about her upcoming work and what it means to be a Ukrainian dentist’s daughter.
Jeff Stevens attempts to explain, in 48 syllables exactly, why writers write.