Just as everything bad about Hollywood was bad about Broadway before it, everything bad about television was bad about radio. Virtually every generic trope of television stems from American broadcast having its roots in radio. But where television has run these genres into the ground, it has at least attempted variations on the themes. By comparison, contemporary audio drama is positively hidebound.
From the kitchen of Inga Muscio comes the miscegenation of tuna, dolphins and hale fucken kale salad. The offspring are neither animal, vegetable or mineral, yet still worthy of contemplation.
Some small chunk of unrequited sonnetry from Jeff Stevens.
As with all of UMO’s productions, one particularly needs to forget the brand of kitchen sink realism that is often presented on our stages. Instead, in order to begin appreciating it, what is required is an openness of the senses, an awareness of what’s transpiring onstage, and let meaning appear cumulatively after the fact.
The Star’s Kelly Dermody sits down to talk with the members of local sketch groups Charles and The Entertainment Show.
Are you one of those people who complain about how expensive it is to cook for themselves? Or perhaps you have a friend who says that all the time. I say to you (or your sad, hungry friend), that’s nonsense! The problem is this, beginner cook. You don’t have a stocked pantry.
Biographical and autobiographical writing entwine. Why did I choose to write about a woman I never met and had no ties to—except for my interest in Jewish women’s history and the field of Psychoanalysis? Immediately the writer’s self is injected into the story. Sometimes Dr. Buxbaum turns up in my dreams, and in the morning I have to sort out the dream so it won’t get mixed up with biography.
Welcome to the inaugural edition of “Dear Wizard.” This is an intuitive advice column. It’s not an etiquette column, it’s not an ethics column, it’s not an advice column about the practical logistics of things. It’s a column where you bring me your most tender, sticky dilemmas, and I help illuminate the energetic patterns that are running that affect the situation.
Of Titus Andronicus it is known that it was once one of Billy Shakes’ least produced plays, because it is one of his more visceral, brute-force works. Its metered language is geared toward the barbarity of its story, and contains little of lyrical beauty usually associated with the playwright–that is to say, it is lyrical, but vicious instead of beatific. It is the work of Shakespeare during his crowd pleasing days, its pulpy purpose is to rouse the rabble.
A renga by Jeff Stevens about certain birds with vivid memories.