The English write tales of quiet desperation.
The French write about frantic, desperate love affairs.
The Norwegians write about drinking in the long dark.
The Japanese write about suicide.
The Americans write about shopping.
Please add to the list (and lets hope Patrick Nielsen Hayden still visits here).
I’m at the Brian Ferry concert. Row B — right near the front.
(This is assuming all went as it should; I queued this post up before I left home.)
Creative Commons image by Galaxy fm. Some rights reserved.
Dennis Creaghan gives a real performance in Martin McDonagh's confection of a noire play, A Behanding in Spokane. (Yes, “Behanding”.) When Creaghan is on stage, he dominates it. And why shouldn't he – his Carmichael has the gun, he has the lines, he has the presence, even if he doesn't have a hand.
Normally I'd tell you a bit about the story and how this disparate crew happened to end up in a seedy hotel room, but I think that would spoil the experience.
And you might want to have the experience: The GablesStage does this slightly underweight script proud. Set designer Lyle Baskin's hotel room is straight out of the pulps, and perfect for the story. The three other characters mostly exist to play off Creaghan's Irish-American Ahab, and they do it well. Mervyn the bellhop (Erik Fabregat) gets a soliloquy and some nice to-and-fro with the other characters, until the script lets him down a bit at the end. The poor actors who have to play the young couple who ensnare themselves in Carmichael's one-handed madness pretty much do the best they can with what they're given, but Marckenson Charles, who plays Toby, seemed to fade in and out of his misfortunate character while Jackie Rivera's Marilyn was a little one-noteish. It doesn't matter.
Is this the greatest play of the year? No. It's not in the same class as some of GableStage's recent plays, such as Speed-the-Plow, the play that convinced us to become subscribers. But A Behanding in Spokane is a fun 90-minute-without-intermission romp, and even if the ending is a little too pat for my taste, it's worth seeing if you like the theater.
Adult tickets run from $35-$42 depending on what night and whether you qualify for a senior citizen discount. The Friday I attended there were plenty of empty seats in the small theater, and it looked as if most attendees had gotten that discount. That's a shame. The GablesStage is a local treasure, and director Joseph Adler has good, if sometimes slightly strange, taste and guts.
Student tickets are only $15, people, and the theater, located in the Biltmore, is just up the street. Go for it. (Note: the show ends this weekend; I wrote this review just after seeing the play a couple of weeks ago, then emailed the theater asking for a still to illustrate the review. They never replied. Oh well.)
The very concept is evil, so I don't know whether to be appalled, or admiring of the technique displayed in Stayin' Alive In The Wall (Pink Floyd vs Bee Gees Mashup) by Wax Audio. Pink Floyd admirers watch at your own risk:
Oh no, there's more where that came from.
I'm apparently the last person in the world to discover this, but nerdcore hip hopper MC Frontalot did an ode to Zork, It Is Pitch Dark
What's Zork, you ask? Well, grasshopper, get Zork I, Zork II, and Zork III (There are common installation instructions). But don't plan to get much else done for a while.
For the first couple of days, every time I saw a blog headline about “Lebron” I though it was about the First Amendment case. But I don't suppose the New York Times could have live-blogged the Supreme Court back in 1995.
Anyway, it's Miami, if you care.
[Update] PS. There's a tax angle here. See Paul Caron's roundup at The Impact of Taxes on Lebron James' Decision.
Jotwell Blenderlaw