15 Minutes, $3-$50,000

This new Warhol Foundation arts writers grant program is pretty cool. Too bad there's not one for theater critics, too.

And...McNulty Takes the Lead!

And the first review of Mother Courage at the Delacorte Theatre in Central Park is...in the Los Angeles Times. I couldn't agree less, incidentally. My rave should be up in a few hours. UPDATE: Talkin' Broadway's Matthew Murray joins the slam chorus. And Newsday's Linda Winer is more mixed. UDPATE: Brantley, thoroughly mixed.

THE MORNING AFTER: VAriety's David Rooney is much more upbeat, as is Frank Scheck at the Post. Eric Grode at the New York Sun, whom I often but not always agree with, calls it "a damn mess and a damn shame. (Though this recollection by Matthew Gurewitsch of the role's originator, Therese Giehse, is an interesting tidbit for a right-leaning paper.) My Broadway.com review is still not up, for whatever reason. UPDATE: The review is up (link in post above); and here's John Simon, mostly positive. On the case with his own take is fellow blogger Garrett Eisler. (An anonymous commenter there led me to Elysa Gardner's rave in USA Today, and to the news that Time Out NY's Adam Feldman gave it five stars. The divide thickens.)

Goin' North

I couldn't be happier that Bill Rauch, founding artistic director of Cornerstone Theater Company, has been named artistic director of Oregon Shakespeare Festival. That's two of my favorite theater companies and one of my favorite people, all in one post. Look for a big Q&A with Rauch by yours truly in the October issue of American Theater.

Though I was in L.A. for about 24 hours to talk to Bill (and spend time with his son Liam, a fiercely competitive chess player), I'm selfishly hoping that his new post means I find excuses to go back to Ashland on some magazine or newspaper's dime—frankly, that was one of the best perks of working for Back Stage West back in the day. I have no great insights to offer into this thoroughly exciting partnership at this point (partly 'cause I'm snatching a moment here from a rather stressful copy-editing job), except to say: Congrats to both Bill and OSF. I can't wait to hear about, and if I'm lucky see, what blossoms from this felicitous match-up.

Short Round

My review here.

Kiki & the Fringe

Not a convert to Kiki & Herb, sorry to say. Here's my review. And I've spent a few nights at Fringe for Broadway.com, which is group-blogging the fest. My reviews are here.

Negotiations and Love Songs

My review of the new lo-fi, apostrophe-dropping musical Everythings Turning Into Beautiful here.

A Year in the Life

Some celebration, or at least a footnote, is in order: It was one year ago today that I alighted for good or ill in the borough of Brooklyn to make my way as a writer/journalist/editor etc. in the city where these fields are still, despite the tectonic shifts in the business, thick with opportunity. The full-time gig has eluded me as yet, but I've managed to piece together a self-employed living as a freelancer and part-time copy editor at many and sundry companies. I still chafe at the schedule but the work has been, for the most part, stimulating and rewarding.

And yes, it was inhumanly hot a year ago, too—a nice introduction to the city, as it served as a kind of index for subsequent days: i.e., this one is better than, as bad as, or worse than that first sweltering day. I've cherished the good ones.

Tonight I'll go hear one of my favorite guitarists, Bill Frisell, accompany some silent films in Prospect Park. Celebrate Brooklyn, indeed.