Just Wrought

The fabric of darkness is light.

I need patience. NOW!

A Super Skip Ahead Sneak Peek

This from Markheim, two episodes ahead.

IOPHIEL: Welcome, friends from Hell. I know it seems a little cramped, but you’re actually inside the globe. Not the globe some call “the Show”, but rather a 3-D neon map of it. It was placed on top of this building as a beacon of truth, because beneath us human beings used to work at finding out the truth and then sharing it by printing it on folded sheets of cheap paper so their fellow human beings could read and know it.

I’m sort of a truth history trivia buff, in case you couldn’t tell.

Sadly, this globe we’re in, well, it’s not really a beacon any more. The truth-tellers that used to work below, are all gone: sacked and scattered. And once again humans will have to struggle to find another way. But that’s not what we’re here about tonight. Tonight, we’re about fighting fire with fire.

 

Tickets are on sale now for Sandbox Radio Live! Episode 8: “Fools Rush In”.  Reserve yours at Brown Paper Tickets here.

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Record Corrector

Saying that what Mike Daisey does isn’t theatre is not equivalent to saying that what Jackson Pollock painted isn’t art. Rather, it’s equivalent to saying what Jackson Pollock painted isn’t photography. I make this argument in greater detail in my essay, “The Solo Show: A Risk Averse Artistic Administrator’s Best Friend” which is, beyond a reasonable doubt, what Omar Willey refers to in his withering list of “nonsense” and “childish territorialism” nestled within his hot-off-the-virtual presses criticism of Culturebot’s recent evening  Everyone’s a Critic. Omar’s essay is worth the read despite the red herrings and half-thrown gauntlets. Just as— I like to think— my essay on one-person shows is also worth a glance, despite its putative shortcomings.

Easily one of the three smartest people I know, Omar Willey is a mensch’s mensch. His contributions as the founding publisher of The Seattle Star are profound, and his thinking on how criticism can make Seattle theatre better is vital to the conversation, no matter how proudly he praises his own prolixity and opacity. (Trust me: it’s quite not as bad as he hopes.) If, however, Omar were always right, I would be compelled to worship him as a fearsome god, instead of treasuring him, as I do, for the dear friend he is.

All art is defiance.

We Micks, with hearts like gaping gun-shot wounds, salute you.

Happiness is a circumstance.
Gratitude is a choice.
Choices create circumstances more often than vice versa.