arts – Life on the Wicked Stage: Act 3

Sunday Morning Reading

There be dragons, dogs, and humans. Trust the dogs.

Time for some Sunday Morning Reading.

There’s a great lyric and greater question in Lin-Manuel’s musical retelling of American history, “Who lives, who dies, who tells your story?” Control is a crazy concept. We strive to control what we can, while we’re around. Too often we delude ourselves into thinking we control more than we actually do. No one wants to define themselves or be defined as lacking control, much less under the control of others. We may think we’re masters and mistresses of our own universes and control our own narrative. Yet too often, when we do have control and things go askew, we foist the responsibility (blame) off on others. That may be essential to surviving on the paths we choose. But it’s not easy to control the reactions a dog may have to who’s good or who’s not, a dragon, or much less the demons of our own making.

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Kicking off this week is Natasha MH asking the question, What’s The Best Story You’ve Been Told About Yourself? There be dragons.

The Guardian published an editorial on the ‘unmasking’ of anonymous artists in the wake of the second unmasking of Bansky and the reveal of a hoax surrounding the death of Italian novelist writing under the nom-de-plume Elena Ferrante. Regarding Banksy, The Guardian opines that “his mask is his art — let’s not destroy it.”

I don’t often link to book reviews in this column, but this one struck my fancy. A.O. Scott’s A Treacherous Secret Agent, examines How Literature Spoke Truth To Power During The Red Scare. I’m looking forward to reading this.

Jason Perlow’s The Well We Never Tapped is a sequel to an earlier piece he wrote about the future of science fiction. He argues that in the runaway world of big sci-fi franchises like Star Trek and Star Wars the answer to controlling the future of these and other properties isn’t retooling or reimagining, but perhaps to stop for a while.

Speaking of science fiction and stopping, on the Artificial Intelligence front a number of things happening in that wannabe industry that can’t really find a purchase beyond the flimflammery of the financial markets and bean counting boardrooms, have been prompting some interesting writing of late. kstenerud on the yoloai blog writes Why Your AI Agents Will Turn Against You. There be lobsters and dragons.

Kevin Baker takes a look at how AI Got The Blame For The Iran School Bombing. Follow that up with Anna Moore’s piece Marriage Over, €100,000 Down The Drain: The AI Users Whose Lives Were Wrecked By Delusion. Makes one suspect that we’re not looking for ways to better exert control over our lives, but to more easily avoid taking the rap when things inevitably go wrong.

Big news last week got kind of mushed about in wish casting about Facebook killing off the Metaverse. That sort of did and didn’t happen. Regardless, Neil Stephenson’s My Prodigal Brainchild caught quite a bit of attention.

Apple is celebrating its 50 year anniversary and there’s lots being written about its history and it’s present. Everyone’s vying for control of that story. Harry McCracken’s How Apple Became Apple: The Definitive Oral History Of The Company’s Earliest Days is worth a read.

So too is David Sparks’ The MacBook Neo’s Unfair Advantage and the Stephen Sinofsky piece he links to, Mac Neo And My Afternoon Of Reflection and Melancholy. The damn thing hasn’t even been on sale for a month, yet we’re already trying to define its legacy.

Two political pieces to conclude with after all of the good feelings surrounding yesterday’s No Kings Rallies. (Watch for the comical battle to control the narrative over that moment this week.) Lydia Polgreen says what I’ve been saying for over a decade now. It’s Not Trump, It’s America. It’s hard to come out from under the burden of a myth.

Mike Lofgren’s How Trump Fits The “Great Man” Theory of History — Sort Of, taps into Hegel, Asimov, and the wisdom of dogs. He concludes his piece with:

History as we experience it at the sharp end is the aggregation of moral choices made by individual human beings. When those choices become corrupted by fear, resentment or inexcusable stupidity, and then amplified by mass suggestion, we get a creature like Trump, the reflection of a people’s image.

I’ll leave it at that this week.

(Image from Daniele Gay on Shutterstock

If you’re interested in just what the heck Sunday Morning Reading is all about you can read more about the origins of Sunday Morning Reading here. If you’d like more click on the Sunday Morning Reading link in the category column to check out what’s been shared on Sunday’s past. You can also find more of my writings on Medium at this link, including in the publications Ellemeno and Rome.

Celebrate World Theatre Day!

Imagine

In a fit of misplaced hope and perhaps vanity, I would hope that lots of folks who don’t ordinarily attend the theatre do so today on World Theatre Day. Of course in that same misplaced vanity, I would hope more would do so more often on any day.

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World Theatre Day is an international observance that started in 1962 by the International Theatre Institute to promote live theatre as an art form across the world. Each year a different theatre artist is recognized and provides a message, sharing his or her reflections on the theme of theatre and a Culture of Peace. This year’s choice is Willem Dafoe.

Here’s an excerpt from his message:

We are social animals and designed biologically for engagement with the world. Every sense organ is a gateway for encounter and through this meeting we achieve greater definition of who we are. Through storytelling, aesthetics, language, movement, scenography – theatre as a total art form can make us see what was, what is and what our world could be.

As Jean Cocteau said in the first World Theatre Day message shared by the ITI:

We gather to weep and to remember; to laugh and to contemplate; to learn and to affirm and to imagine.

Go see a play.

You can also find more of my writings on a variety of topics on Medium at this link, including in the publications Ellemeno and Rome. I can also be found on social media under my name as above.

Scene Painting a History of Hamlets at The National Theatre

Hamlets watching Hamlet

I’ve done some scene painting in my day, but nothing like this. Actually nothing even approaching anything like this.

In Robert Hatcher’s production of Shakespeare’s Hamlet at Britain’s National Theatre Ben Stones’ scenery features a gigantic mural that surrounds the set that includes the faces of actors who have played Hamlet through the ages. The picture above doesn’t do that description or the concept justice.

The faces woven into the Danish artwork are the ultimate theatrical Easter egg. While Stones keeps the full cast list close to his chest, he confirms that they are all there – a complete history of the role.

“They’re all hidden in there. Everybody who’s been in it… even Tinuke Craig’s schools Hamlets, the three boys who played on that tour. We were very clear that if we include, we are including everyone who’s ever spoken those words in any version of this kind of play.”

As a statement on the play and its theatricality that’s cool in and of itself. The ghost visages of previous Hamlets watching what can be described as a ghost story has a meta appeal.

What also attracted my attention to this article — and why I’m sharing it — is that it puts the spotlight on scenic painting, somewhat of a lost art in this day of projected backgrounds and digital printing. This theatrical work of art required 920 hours to complete.

There’s a terrific little video that gives you an idea of the scale and scope of the painting requirement. Unfortunately it’s filmed in vertical mode so you don’t get the grand finale the same way on a computer webpage that you might on a smartphone. Even on smaller screens it has an impact.

It made me recall my days directing theatre in Omsk, Russia when the scene painting loft was at the top of the building. There, drops would be stretched on a frame that would rise and descend through an opening in the floor allowing the scenic artists to stand on the floor as they painted. There were some amazing scenic painters in that loft.

The article also gives credit to the scenic artists who did the work for Hamlet at the National. Well deserved.

Sunday Morning Reading

Politics, the arts, a little snow, and the end of an era

It’s a Sunday and Fall is homing in on Winter as the first snow of the season hits Chicago this morning. Perfect time for a little Sunday Morning Reading featuring some interesting stories about the arts, AI, and home.

As the first flakes of this winter of discontent fall, two interesting reads highlight some of the chaos the art-less U.S administration is inflicting on the American arts scene, specifically The Kennedy Center. Shawn McCreesh takes a look at the damage being done in The Kennedy Center Crackup.

Meanwhile, Charlotte Higgins reports that the Washington National Opera May Move Out Of The Kennedy Center Due to Trump ‘Takeover.’ I’m here to tell you that while what’s happening on the banks of the Potomac may feel very inside the beltway, the repercussions are being felt in the boardrooms of arts organizations across the country.

The above, like most of our news of late, is certainly not something to laugh at. That doesn’t mean we shouldn’t find ways to laugh at the incompetent, ignorant and dangerous players wreaking havoc in their wake. Laughter gets under their all too thin skins, no matter how made up or stretched too tight by surgery. Mike Monteiro offers up How To Point At Fascists And Laugh.

NatashaMH, far too young to worry about being old, takes a look at creating art as she nears the mid-century mark in I Don’t Paint For Your Sofa. Youngsters these days.

Art and politics might be an unholy mix in dangerous times like these, but there’s another foul concoction brewing. Adam Willems points to An ex-Intel CEO’s Mission To Build A Christian AI: ‘Hasten The Coming of Christ’s Return.’ If you ask me these folks wishing for these kind of end times have really missed the points. All of them.

Continuing on the AI front there seems to be a bit of weakening in the walls of what most concede is an economic bubble. The cliché is that bubbles pop. Those that don’t, just disappear as they float away. Ben Thompson takes a look at what happens in either case in The Benefits of Bubbles.

Home is where hearts are and often places you can’t return back to. I’ve lived both. Chris Andrei is Searching For The Elusive Feeling Of Home.

With the weather changing and snowflakes falling out my window, there’s a passage of time marker about to be set. The Farmers’ Almanac is about to shut down. Growing up in rural America there were only two publications that everyone I knew received in the mail. It was always a big deal in our house when my dad, who was the postmaster, brought those home. The Sears Catalog and The Farmer’s Almanac. The Sears Catalog is long gone. The 2026 edition of the latter will be its last. Grace Snelling takes a look back and ahead in After More Than 200 Years, The Farmers’ Almanac Is Shutting Down For Good.

Returning to where this week’s column began, the arts, Jack Rodolico’s The Blue Book Burglar examines how New York’s once vaunted Social Register, was not only a destination that social climbers desired to be included in, but was also a hit list for the country’s hardest working art thief. I just don’t understand how the current thieves doing today’s pillaging have it so damn easy.

Artists Unite for Fall Of Freedom Campaign

Art matters. Artists are a threat to American fascism.

Much of the current focus building out of the simmering outrage at the actions of the Trump regime is centered on the October 18 NoKings rallies being planned across the country. From the sound of it the crowds will be large and widespread across the country. That’s all a good thing.

That said, I still wish and hope for and believe that more sustained efforts are going to be required before enough pressure might actually lead to progress.

One effort that might help, if given proper support and media coverage, is an national call to action by artists called Fall Of Freedom. You should certainly check out the website and how to get involved. Here’s an excerpt from the website:

Fall of Freedom is an urgent call to the arts community to unite in defiance of authoritarian forces sweeping the nation. Our Democracy is under attack. Threats to free expression are rising. Dissent is being criminalized. Institutions and media have been recast as mouthpieces of propaganda.

This Fall, we are activating a nationwide wave of creative resistance. Beginning November 21–22, 2025, galleries, museums, libraries, comedy clubs, theaters, and concert halls across the country will host exhibitions, performances, and public events that channel the urgency of this moment. Fall of Freedom is an open invitation to artists, creators, and communities to take part—and to celebrate the experiences, cultures, and identities that shape the fabric of our nation.

Art matters. Artists are a threat to American fascism.

I do happen to believe in that last statement. Art does matter, and artists are a threat to American fascism, or fascism wherever it raises its ugly head.

From an article in American Theatre magazine, here are some of the theatre artists and organizations already involved:

Playwrights David Henry Hwang, Dominique Morisseau, and Sarah Ruhl; director/organizer Annie Dorsen; and Julia Jordan of the Lillys. Theatre organizations involved include the August Wilson Center, National Black Theatre, the Public Theater, Broadway Advocacy Coalition, Woolly Mammoth, New York Theatre Workshop, Ensemble Studio Theatre, En Garde Arts, Crossroads Theater Company, IndieSpace, and more.

There’s a longer and growing list at this link.

I urge you to check out the website that includes ways to get involved and a toolkit for this national call to action.

One Year Ago After Hell Froze Over We Opened The Lehman Trilogy

Shows come and go. Some create bonds that transcend the impermanence.

One year ago tonight we opened The Lehman Trilogy at Playhouse on the Square in Memphis. Openings come. Openings, and shows, go. This one has stuck with those of us who lived, worked, sweat, froze, caught COVID, and finally got the show in front of an audience. You can watch the trailer below.

My undying love and gratitude to the three gentlemen who played the Lehman brothers (and everyone else) in the show, Michael Gravois, Kevar Maffitt, and John Maness (pictured left to right below.)

Along the way they became my brothers as well. It was one of those shows that creates a bond that will never break, regardless of the adventures we each and all pursue in the future. Those are the rare shows. They are the rare talents I got to work and play with and always cherish.

Onwards.

You can find more of my writings on a variety of topics on Medium at this link, including in the publications Ellemeno and Rome. I can also be found on social media under my name as above.

Robert LePage’s Hamlet without Words, Words, Words

Told through dance, LePage’s Hamlet is a thrill.

What a treat. Last night a group of us celebrated a friend’s birthday by attending the Robert LePage production of Hamlet. Billed as a Hamlet without words Le LePage collaborated with choreographer Guillaume Côté, who also danced the title role, to deliver a piece almost entirely as a ballet performed by a company of nine. It was an exquisite theatrical adventure.

With the exception of a few supertitles announcing character entrances for identification, the story unfolds and unfurls through dance, and Côté’s choreography was excellent throughout. Although, I felt the vocabulary he established for himself in the title role was not as strong or consistently surprising as it was for the rest of the ensemble. In and of itself surprising, because the entire story revolves around Hamlet’s surprising reactions to the events enfolding him.

The true standout in the company was Carleen Zouboules as Ophelia. Her descent into madness, her drowning, and the graveyard scene were the highlights among many in the production. The entire ensemble were excellent and each had standout moments of their own.

LePage always surprises and Chicago audience were lucky to have this US premiere here. Thrilled I got to see it. There’s a trailer linked below, although it seems to have a larger ensemble than the nine person version we saw last night.

You can find more of my writings on a variety of topics on Medium at this link, including in the publications Ellemeno and Rome. I can also be found on social media under my name as above.

A Dream Cast Delivers a Dreamy Dream of Autumn by Jon Fosse

Exceptional performances highlight a magical evening with a magical play.

Fantastic! That’s the first, but not the last compliment I’ll issue to the remarkable cast of our staged reading of Jon Fosse’s play Dream of Autumn last night. Matt Keely, Thomasin Savaiano, Gabrielle Brite, Amy Stricker, and Kevin Grubb were each, and as an ensemble, gloriously fantastic. They deserve all the praise that came flying their way after the reading. Producers should hire them.

Dream of Autumn was presented as a part of this year’s International Voices Project festival. Each piece is given a one-night only reading after a limited rehearsal period (more on that later).

For those unfamiliar, the actors read from their scripts, but are expected to bring full life to the text. This group sure did. Dream is a tricky play, dwelling in the realm of magical realism, with time shifts, and in this story character shifts, that can turn on the edge of dime. In a full production there would be production elements to help the audience follow those shifts. In this very barebones reading style, with the actors sitting in chairs and reading from their scripts from behind music stands, those shifts were handled via the reading of stage directions and the acting choices made by each member of the cast. According to the audience during our post-performance talk back, every one followed each twist and turn.

We only had about six hours of rehearsal to prepare, and the cast took the direction that was given and ran with it, culminating in a very “in the moment” experience for themselves as well as the audience. This was the first time this cast had read the play start to finish, together, without stopping. It was also the first time I had heard it. You could feel the entire room caught in the moments of the play and the moments of performance, breathing as one.

Having directed a number of these staged readings I’ve seen similar quite a few times, but rarely as well and as thrilling as last night’s effort. I often maintain that one of the true tests of an actor’s mettle is watching them carry the day with little preparation, trusting their skill and instincts. This team certainly carried this play last night further than most.

My hat’s off to each of them. Job exceptionally well done.

All photos by Scott Dray.

You can find more of my writings on a variety of topics on Medium at this link, including in the publications Ellemeno and Rome. I can also be found on social media under my name as above. Check out the categories for this blog to read more about my theatre work.

The Lehman Trilogy Diaries: Showered with Nominations In Awards Season

Great recognition for a wonderful team of theatre artists for a special production.

Well this is exciting news. Our production of The Lehman Trilogy at Playhouse on the Square in Memphis was nominated in seven categories for The Ostrander Awards. As always any recognition is more than appreciated, but when you have a special production with a special team it is even more special.

Nominated from our team include:

Iza Bateman for Props

J. David Galloway for Scenic Design

Rachel Lauren for Lighting Design

Joshua Crawford for Sound Design

Myself for Direction

Myself and our Stage Manager Emma White for Production

And in a terrific nod to the three amazing actors who carried the load, John Maness, Michael Gravois and Kevar Maffitt were nominated not as an ensemble but together as one Leading Actor in a play. That may not make much sense if you don’t know the show, but these three amazing talents literally became inseparable as one in creating the hundreds of characters that fill this challenging piece of theatre. I can’t think of a finer way to honor the incredible performances they gave and the amazing work it took to get there.

Kudos to all involved as well as all of the other nominees. Thanks to the Ostrander folks for the recognition and thanks to the great folks at Playhouse on the Square for the opportunity for us to tell this amazing story. We’ll find out if we won anything on August 26th.

Photo above by Sean Moore.

You can find more of my writings on a variety of topics on Medium at this link, including in the publications Ellemeno and Rome. I can also be found on social media under my name as above.

The Lehman Trilogy Diaries: A Powerful Bond Memorialized

Powerful bonds and fast friendships get formed all the time when you’re working in the theatre. There’s an intimacy in the work that sometimes transcends and envelops the work that needs to be experienced to really understand. It doesn’t happen all the time or on every show. Sometimes it’s just a job. But when it does you treasure it, because you know it’s rare.

Our recent production of The Lehman Trilogy was one on the rare ones. And so was the bond that formed.

This past weekend, the three marvelous actors, Michael Gravois, Kevar Maffitt and John Maness, along with his wife Ashley, journeyed north from Memphis to visit me in Chicago. It was a complete and total surprise, aided in no small part by my lovely wife, Thomasin. I mean they got me. Surprise successful. Emotional in every sense of the word. But then, they’ve been surprising me ever since rehearsals began. It was a magical weekend reunion of a magical moment in all of our lives.

Of the many weekend highlights was Michael bestowing a beautiful gift to each of us. Michael is not just an incredibily talented actor, but also a gifted mosaic artist. I’m still finding it difficult to put into words the my experience during this show, so I’m going to excerpt and quote from Michael for the rest of this story:

They may stand independently, but they belong together.

…the week after the Lehman Trilogy closed, I was feeling very melancholy. I began the process as ONE person. One singular person. But over the course of our rehearsals, especially during the week of the snowstorm, a time when the city shut down, four singular individuals decided to brave the elements in order to tame this beast of a show, and I no longer felt like one singular person. I felt like ONE in the plural sense. It was as if we were meant to be together. During the run of the show I felt like a cog in the machine and like the machine itself, both at the same time. We breathed together. We moved together. We thought together. And make no mistake, there WERE FOUR people on that stage. At no time was Warner not with us, even though he was miles away, even though the audience couldn’t see him. For the rest of our lives, no matter where we are on this planet, we may exist as four singular individuals, but at one time we were meant to be together. So I was thinking about this concept of singular and plural oneness, when I remembered this mosaic that I made over twenty years ago. It’s been sitting in my garage all these years, waiting to be framed. I made it with the intention of selling it as ONE mosaic. It was four mosaics, but it was meant to be together.

…we’ll know that at one time, it was intended to be part of ONE group. And this will always be true. As long as these mosaics exist, even after we die, people will look at them as singular mosaics. But somewhere on this planet, three other mosaics will be out there, forever connected to it.

It’s a beautiful gift, a beautiful memory, and a beautiful bond.

You can find more of my writings on a variety of topics on Medium at this link, including in the publications Ellemeno and Rome.