My personal experience working in theater, film and television is that evolution and integration are happening, are ongoing. I experienced this on a greater level this past year in film and television than in theater.
I was nervous, dreadfully nervous. True, the tooth had haunted me both day and night, but my senses were only sharpened, not destroyed. I was certainly not mad! In fact, my awareness was so acute as to render me excruciatingly sane.
What's striking about Nevermore is that it captures Poe in Poe-like fashion. It pays tribute to his tormented life, explains the genesis of his most beloved works, while delivering an original, riveting set piece.
If you ask me, the prolific John Tiffany and the prolific Steven Hoggett are responsible for the best play ever presented about the Iraq War. So when I learned they were bringing Let the Right One In to the always adventurous St. Ann's, I figured it would be another must.
That's how Serial is supposed to get you: The feeling of true waiting -- something that is lost in our digital culture where all things are instantaneously present simultaneously -- is a novel sensation. Pardon the pun.
It's the greatest time in history to be a writer. There are more ways to get published than ever before. While it's great to have so many options, it's also confusing. But when you break these many different ways down, they sort themselves out into just three primary paths.
It's Larry's call this time around, and he's picked a good 'un: The Masque of the Red Death, Roger Corman's adaptation of the Edgar Allan Poe story that casts Vincent Price as a Satan-worshiping noble who just wants to be loved.
As someone who aspires to fit into Auster's definition of "boy writer," I'm wondering if he might extend his coinage to include "girl writers" as well. Who are they among women, the creative sparks, the gleeful, the ones who make you want to read?