@silversfound (The real maker of me was the most precise editor anywhere, Chris Bonanos, at New York, who another writer once described to me as a couture tailor at an atelier.).

I really can not thank the judges Charles McGrath, @DianeMehta and @andrewdurb1n enough, as well as the Silver's own @DAMendelsohnNYC, for their kindness.

I am stunned to be in this company, and overwhelmed at the generosity of the @silversfound. My great great infinite thanks to the editors who taught me to be a critic: David Cote, Adam Feldman, Brian Parks, Jennifer Krasinski, and, now, my Valerie Steiker.

I (or rather helenshaw) is off to bluer climates; please come talk about theater there! Here's a long-ago video of a cat to remind us of when the internet seemed to give us more good things:

Julia Brothers and Mariah Lee are wonderful in this!.

Whenever a critic says "puppy pile" about R + J, you have to drink

@HalfStraddle I haven't done this in a while, so I forgot to tag, baby, tag: @segalcenter.

The artists' contingent is all-time: Morgan Bassichis, Tina Satter (@HalfStraddle), Tyler Thomas, and Enver Chakartash. The accumulated wisdom in these folks is galactic. I'm SO thrilled to be having this conversation. No more crisis talk without solution talk to go with it! 🚀.

From the artistic directors' contingent we've got: Will Davis (@RattlestickNY ), Caleb Hammons (@sohorep), Jill Rafson (@classicstage) and Freedome Bradley-Ballentine (free agent, with fascinating recent experience) 2/3.

This Friday, at 5pm, at the Segal Center, I'm moderating a free Prelude panel called The School of New York with. everyone? Basically? We're talking with new AD's and veteran artists about solutions for the current theater situation. Link in next slide 🧵

RT @CaraJoyDavid: Oh god. This is disastrous. That isn’t an overstatement. So sad. Will we feel it directly in NYC? No. But is that the poi….

RT @NewYorker: David Henry Hwang’s “interweaving of fact and invention feels audacious and fresh: he draws from the record while also sneak….

His theater was hard to make. It used now-rare assets, like artists able to dedicate a lot of time for very little money. But it can be done! All those times the Foreman ping startled us, he was creating the tension of the about-to-happen. Here the future comes, he said. WAKE UP!

Yesterday, @ Skirball, Annie-B Parson spoke about Foreman's choreography, joining a catalogue of gorgeous writers musing on the work, incl. Marc Robinson, Bonnie Marranca, Ben Brantley, Jonathan Kalb & of course Foreman. Here's a mindmelting bit of Astronome. (Vid @ PennSound)

As a restless, roving mind, Foreman is very interested in the present, and a little less in the past. HIS past, though, has a way of revving you up for the future. I've been watching videos of the work on the PennSound archive, excited all over again at the audacity

Yesterday at NYU, director Richard Foreman spoke to his assembled faithful, and he was, as usual, mischievous and frank. It was like his theatre--the blinding lights, the strings, the pings--which used interruption to make you (sometimes painfully) aware of the present moment 🧵

"Vile Isle" by Justin Halle at @TheTankNYC is superb. Actors are 🤯 (see Sam Gonzalez before superstardom finds him); Spencer Whale's prod. is scrappy & stunning. Goofy but also deeply moral: the horny queer apocalypse-slash-reflection on Rosh Hashanah you didn't know you needed.

RT @NewYorker: David Henry Hwang’s “interweaving of fact and invention feels audacious and fresh: he draws from the record while also sneak….

RT @MichaelPaulson: Gavin Creel, a 48-year-old musical theater performer who won a Tony Award for his work in “Hello, Dolly!”, died this mo….