Herein Will I Imitate the Sun
My extended cardiac pause at the end of last year was cause for reflection, which I think most folks would find pretty common. That period of reflection combined with a political environment running so hard against what I believe to be my and my broader community's best interests left me reeling a bit. Is this political moment a call to more explicit political action? How can I improve the community in a more direct way? And how do I define that community in this new place?
Dancing With Myself
I’m almost as busy as you are. In that rush of “on to the next thing” I currently get most of my news on the fly from my Twitter and Facebook feeds. On a quick scroll through Twitter I caught my friend Reina Hardy crowing about her pending crossing of the border for something called Monologues for Nobody. I chased it down through a few links, saw that this was a Toronto Fringe project curated/commissioned by longtime #2amt contributor Jordan Mechano, read just a little about it and got excited to share this project more broadly. I asked Mechano a batch of questions I had about Monologues for Nobody and I hope you enjoy his answers as much as I did.
Peel Out the Watchword
The Chicago Reader published as careful and deliberate a piece of investigative journalism covering the arts as I can ever remember reading. In the piece Aimee Levitt and Chris Piatt laid out a history of mental and physical abuse and cultish insularity at Chicago’s Profiles Theatre that mirrors much of that theatre’s intense production history. In an era of hot takes and sound bite reporting I want to thank the authors for doing the leg work, and taking the time and real estate that digital print offers to not cut corners. It seems that most of the theatre world has read it already, but if you haven’t I recommend you take the time. If you are sensitive to stories of abuse it’s going to be a tough read.
Home is a Moment
My Austin, like everyone's, was the confluence of specific versions of people and places and projects and that river only moves in one direction.
Count the Cost
Kim Davis’ great mistake is that she hasn’t read the owner’s manual on her faith yet. She read the poster. She saw the trailer.
