“Like many a New Yorker right now I talk a good game but my mind is scattered, disordered. To me, the city itself feels scattered, out of sorts; certainly carrying on like London, like Paris, but also, like those places, newly fearful, continuing with its routines while simultaneously wondering whether it still wants to, considering decamping to the countryside while being repulsed by that same thought—oh, and a ragbag of other random thoughts and anecdotes that will now converge in the next paragraph like a half-dozen strangers united for a moment on a street corner.”
Despite what’s going on inside her body—and the scars that look like “the zombie apocalypse”—Bailey Anne Vincent dances. She glides across the floor with ease and grace, with extended lines and delicate movements that belie the medical battles within.
“The roster of tasks facing the next San Francisco Symphony music director will be daunting and varied. It includes finding new ways of making the standard repertoire speak directly to a younger and more diverse audience, including many for whom the music of Mozart or Brahms is terra incognita. It includes embracing a broader range of contemporary music — including works by women and composers of color, a point on which this orchestra has lagged woefully behind organizations like the Los Angeles Philharmonic under Music Director Gustavo Dudamel.”
“What writers don’t realise is that people don’t buy the writing, they buy the writer. Writing is not about finding your voice, but finding your persona. You can’t just cloister yourself away and expect to become famous unless you’ve a backstory of dodgy health and dying relatives as big as Emily Dickinson’s.”
The most notorious instance of bad behavior took place at “Hand to God” in 2015. Before the show started at the Booth Theatre, a young man climbed on the stage and plugged his phone into an outlet on the set. Several minutes later, as the houselights went down and the cast was waiting in the wings, he jumped back on stage to retrieve the phone.
The ‘own voices’ policy conveys to reviewers that their primary job is not to assess a book’s storytelling, but to rate its adherence to a left-wing catechism (the fairness of whose tenets is presumably self-evident), to identify authorial heretics, and to stick the apostates’ heads on spikes along the digital public highway. Reviewing for Kirkus is now a cross between penning literary criticism and joining a shooting party, a sufficiently athletic undertaking that it really should pay better.
Prince Mohammed envisions Neom as a hub for manufacturing, renewable energy, biotechnology, media, and entertainment, filled with skyscrapers, five-star hotels, and robots to free humans from repetitive labor. The website dedicated to the city proclaims that it will offer “an idyllic lifestyle…founded on modern architecture, lush green spaces, quality of life, safety, and quality in service of humanity paired with excellent economic opportunities.”
Marin Alsop, JoAnn Faletta, Simone Young and others have broken many barriers in the orchestra world. Anne Midgette looks at the generation of women behind them ready to take the podiums.
One of them says, “Being a sex worker can be quite isolating. We don’t have our own social club that we can go down to once a month and meet people.”
Tracey Emin, who uses a yellow-and=black striped pencil: “There is something about the act of drawing that bypasses mundane consciousness and reaches straight to the brain.”
Well, audiobook technology now has you covered. Audible now offers binge-romance listeners “the option to jump to certain places in select audiobooks based on 10 categories.” Ahem.
This dancer “formed the Fredericksburg dance group Company 360 eight months ago between operations, lung infections and doctor visits. … Dance takes her to another place, beyond the aches and pains and away from a body that causes so much grief.”
Junk playwright Ayad Akhtar and Preet Bharara “met briefly in the lobby before the play started, with Mr. Akhtar telling Mr. Bharara: ‘You are such a hero to me, not just because our shared background,’ referring to their South Asian heritage, ‘but also because of all you have done for this country.'”
“Sounds a lot, but it would turn out to be a brief history. Universal literacy isn’t that old. Nor is the luxury of sleeping alone. Couldn’t have been much fun when there were five of you on a mattress, one guffawing over Smollett while another was calling hysterically for Heathcliff and the candle was going out.” And the other bookend would be another gift of modernity: television, and streaming.
How many shows follow the adventures of a single working-class mother doing several jobs to make ends meet for her and her toddler? Not that many. Well, none … until now, with Frankie Shaw’s new dramedy SMILF. “At a time when there’s a generation of young storytellers offering fresh perspectives on the angst of coming into your own as a young adult, with her dark comedy Shaw adds motherhood — with all its complexities and joys — to the mix.”
The playwright – and screenwriter – David Hare explains the difference between writing for stage and screen. “All time spent considering your play is well spent, regardless of outcome. One day you write nothing, the next you write eight pages. It’s not in your hands. … Life is different when writing for the screen. For every hour you spend writing a screenplay, you spend 10 hours defending it.”
Celeste Ng, author of the wildly bestselling novel Little Fires Everywhere, says that most people in the U.S. now understand race differently than they did in the 1990s, which makes that decade a great setting for her book. “The decade was, in general, one of optimism; it was ‘placid … a little self-satisfied.'”
As information continues to emerge, and after Netflix suspended its relationship with the studio while Spacey was involved in the program, “the studio behind the hit television series House of Cards has suspended Kevin Spacey while it investigates what it called ‘serious allegations’ concerning the actor’s behavior on set.”