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PHYLLIS WHEELER INTERVIEW ON “THE LONG SHADOW” ·

Author Phyllis Wheeler talks to Bob Shuman, at Marit Literary Agency and Stage Voices, about her YA novel The Long Shadow, a Huckleberry Finn story for the 21st century.

A white suburban, contemporary 14-year-old moves from racism to empathy as he travels through time. He is saved from hypothermia by a black man, and then, finding himself in 1923, works to prevent the lynching of the black man’s grandfather.

Praise for The Long Shadow

“A book that can make a difference . . . a good history lesson without being offensive to anyone.  I like the friendship that blossomed in the story. . . .”–LaShaunda Hoffman, author of Building Online Relationships and also publisher of SORMAG, Shades of Romance Magazine, the award-winning online magazine for readers and writers of multi-cultural literature (sormag.blogspot.com)

“Full of interesting characters . . . [The Long Shadow has] heart, humor, and a great overall theme. . . . Complex subject matter, woven into enjoyable fantasy. . .”–John HendrixNew York Times bestselling illustrator and author of many children’s books, including Shooting at the Stars and John Brown: His Fight for Freedom 

Wheeler runs her own editorial firm in St. Louis and has written for daily newspapers, been a deacon, and worked on airplanes as an engineer. 

Music: “Tupelo Train” by Chris Haugen

Phyllis Wheeler, phylliswheeler.com
Bob Shuman, BobJShuman@gmail.com

 

WHEN MILTON MET SHAKESPEARE: POET’S NOTES ON BARD APPEAR TO HAVE BEEN FOUND ·

(Alison Flood’s article appeared in the Guardian, 9/16.)

Hailed as one of the most significant archival discoveries of modern times, text seems to show the Paradise Lost poet making careful annotations on his edition of Shakespeare’s plays

Almost 400 years after the first folio of Shakespeare was published in 1623, scholars believe they have identified the early owner of one copy of the text, who made hundreds of insightful annotations throughout: John Milton.

The astonishing find, which academics say could be one of the most important literary discoveries of modern times, was made by Cambridge University fellow Jason Scott-Warren when he was reading an article about the anonymous annotator by Pennsylvania State University English professor Claire Bourne. Bourne’s study of this copy, which has been housed in the Free Library of Philadelphia since 1944, dated the annotator to the mid-17th century, finding them alive to “the sense, accuracy, and interpretative possibility of the dialogue”. She also provided many images of the handwritten notes, which struck Scott-Warren as looking oddly similar to Milton’s hand.

(Read more)

 

LET’S GO: ‘EN EL OJO DE LA AGUJA (IN THE EYE OF THE NEEDLE)’–ONLY THROUGH 9/22 ·

 

TABULA RASA NYC THEATER AND PERFORMANCE LAB

Proudly Presents the World Premiere of the Spanish Language Version of

“Powerful production by Ramiro Antonio Sandoval.” – Carlos Navedo, Impacto Latino 

EN EL OJO DE LA AGUJA

(In the eye of the needle)

You must have a plan B and know where the nearest exit is……

You better catch them before the wall is up!

Written by

RAMIRO ANTONIO SANDOVAL in association with JOHANNA BOCK

Starring KLARA LOPERA-SÁNCHEZ, ANDRÉS LÓPEZ-ALICEA, 

VANESSA HERNÁNDEZ and JEI FABIANO

Directed by RAMIRO ANTONIO SANDOVAL

LIMITED ENGAGEMENT

SEPTEMBER 7 – 22, 2019 AT THE TANK

TICKETS ON SALE NOW AT WWW.THETANKNYC.ORG

TABULA RASA NYC THEATER AND PERFORMANCE LAB is pleased to announce the world premiere production in Spanish of their collective creative collaboration EN EL OJO DE LA AGUJA (In the Eye of the Needle), written and directed by Ramiro Antonio Sandoval in association with Johanna Bock (Spanish translation is based on a free interpretation by Edna Lee Figueroa from the English original). EN EL OJO DE LA AGUJA will play a three-week limited engagement at Off-Broadway’s The Tank (312 West 36th Street, NYC). Performances begin Saturday, September 7 and continue through Sunday, September 22. Opening Night is Sunday, September 8 (7 p.m.).  Tickets are $30 and available at www.TheTankNYC.org.  

Mad or maddening?

Three characters challenge each other’s imagination on their coexistence in a ‘far-away-so-close’ location from our actual condition. 

“Always have a plan B and know where the nearest exit is”

At the count of four, three, two …missing!

…You better catch them before the wall is up!

EN EL OJO DE LA AGUJA (In the eye of the needle) is a contemporary high tech-tragicomedy.

EN EL OJO DE LA AGUJA (In the eye of the needle) is a personal, social, and political exploration of conflict resolution (or the lack thereof). The deliberate avoidance of conflict or exchange of different points of view, can lead to isolation and alienation. In recent history, governments lack of attention to the needs of the needy, have resulted in not only uprisings, but forced displacements, unwelcomed migrations, and a refugee crisis. 

The patriarchal vision of the contemporary world, may also have a key role in the social crisis sprouting worldwide. The absence of ethics present us with a cruel, almost comedic landscape (due to an almost pathologic state of mind), where a “back to basics” call is required. 

In a world where thought leaders are ostracized and killed while the brute and inhuman rise in control over the land, the environment, women’s and human rights…What is left? 

Who will leave next? 

When will we stop building walls to solve our problems? 

When will we come out of our selfish caves to demand honesty, to create new ideas? 

Will we be able to stop losing human kindness before the wall is up?

The production stars Klara Lopera-Sánchez, Andrés López-Alicea, Vanessa Hernández and Jei Fabiano.

The production features original music by Samuel Torres, stage design by Verónica Álvarez with Omayra Garriga and Edu Canal with Alexis Mendoza and Elisabet Díaz Cintrón, technical direction by Omayra Garriga with Jorge Berrios Cuevas, costume design by Alejandra Laverde with Bibiana Torres Rey, lighting design by Karim Rivera Rosado. Juan Esteban Vélez is the production assistant.

 

EN EL OJO DE LA AGUJA plays the following schedule through 

Sunday 9/15 at 7 pm.

Friday 9/20 at 7 pm;

Saturday 9/21 at 7 pm;

Sunday 9/22 at 7 pm.

Tickets are $30 ($20 students/senior) and are now available online at www.TheTankNYC.org. Tickets may also be purchased in-person at the theater a half hour prior to performances.

Running Time: 75 minutes

Website: www.tabularasatheater.org or https://www.thetanknyc.org/calendar-1/2019/9/7/en-el-ojo-de-la-aguja-in-the-eye-of-the-needle-3f846-wrjxl

Top Photo: David Troncoso; photos courtesy of TabulaRaSaNYC

CONSTANT STANISLAVSKI (25) ·

Palpable objects seen by us on the stage are much more necessary and important for us actors than colorful canvases that we do not see.  Sculptural things live with us and we with them, while painted backdrops hang behind us and live separately from us, for there is not connection between us and them. (MLIA)

SONTAG IN SARAJEVO ·

(Benjamin Moser’s article appeared in the New York Review of Books, 9/9.)

David Rieff went to Bosnia in September 1992, at the end of the first summer of siege. Like so many of the journalists who made the journey to Sarajevo, he did so because he believed, however implicitly, in the existence of a civilized world and in the duty to inform it. “If the news about Bosnia could just be brought home to people,” he thought, “the slaughter would not be allowed to continue. In retrospect, I should have known better than to believe in the power of unarmed truths.”

At the end of that first visit, he spoke to Miro Purivatra, who later founded the Sarajevo Film Festival, and asked if there was anything, or anyone, he could bring back. “One of the persons who could be perfect to come here to understand what’s going on would definitely be Susan Sontag,” he said. Without mentioning the connection—“for sure,” Miro said, “I did not know that he was her son”—David said he would do what he could. He appeared at Miro’s door a few weeks later. “We hugged each other and he told me, ‘Okay, you asked me something and I brought your guest here.’ Just behind the door, it was her. Susan Sontag. I was frozen.”

It would be at least a month before he figured out their relationship: “They never told me.” The first of what would turn out to be Susan’s eleven visits to a place that became so important to her life that a prominent downtown square is today named for her—so important that David would consider burying her there—took place in April 1993.

(Read more)

Photo: Blogfrancetvinfo.fr

FIONA SHAW AND KIRSTEN SHEPHERD-BARR ON ELEONORA DUSE (BBC RADIO 4) ·

Listen 

Fiona Shaw, BAFTA award-winning star of Killing Eve, joins Matthew Parris to explore the life of one of history’s most remarkable actresses whose name has slipped from public memory. She inspired Stanislavski’s ‘method’, changed Chekhov’s mind about acting, and took Chaplin’s breath away – the nineteenth-century performer, Eleonora Duse. Kirsten Shepherd-Barr, professor of English and Theatre Studies at St Catherine’s College, Oxford, helps Fiona and Matthew uncover the drama of Duse’s life, both on and off the stage. Producer: Camellia Sinclair.

 

HARRY POTTER BROUGHT HIM TO BROADWAY. NOW HIS WORK IS EVERYWHERE. ·

(Michael Paulson’s article appeared in The New York Times, 9/4; via Pam Green.)

Eccentric and prodigious, the writer Jack Thorne won a Tony for “Cursed Child.” Up next: “Sunday” at the Atlantic Theater Company, and “His Dark Materials” on HBO..

LONDON — Jack Thorne has no shortage of ways to characterize his own eccentricity. “I’m a slightly deranged adult.” “I’m not very good with other people.” “I’m mental.”

He points out a Ralph Steadman poster on the wall of his book-lined home office, an image grotesque enough to prompt objections from his 3-year-old son. “I like it,” he smiles. “It expresses my self-hatred.”

Mr. Thorne, a 40-year-old English writer, describes much of his life as a succession of dark chapters, including a disabling skin condition that affected him for years.

But now he finds himself in a spot he could never have imagined: a happily married father with thriving stage and screen careers that have made him one of the most prodigious — and sought-after — storytellers of the moment.

(Read more)

Photo: The New York Times 

 

CONSTANT STANISLAVSKI (22) ·

Let someone teach us to speak simply, musically, nobly, beautifully, but without vocal acrobatics, actors’ pathos and all the odds and ends of scenic diction.  We want the same thing in movement and action.  Let them be humble and not completely expressive and scenic in the theatrical sense of the word, but then they are not false, and they are humanly simple.  (MLIA)