The Keen Company’s revival of Steven Dietz’s Lonely Planet plays like a thematic mashup between Edward Albee’s Who’s Afraid of Virginia Woolf? and Samuel Beckett’s Waiting for Godot. They explore the complexly nuanced relationships between storytelling, companionship, and dealing with life’s hard truths.
Since I attended the final performance of the Public Theater’s production of Julia Cho’s Office Hour, I figured it wouldn’t behoove me to write about it, even though I think it’s one of the most vital plays of the season.
Like a true disciple of Shakespeare, Kenneth Branagh understands the crucial importance of casting every role in an ensemble with top-tier talent.
Write All Nite will not be conforming to the recent trend of every outlet in the world releasing their “Top 10 ____ of 2017” lists IN EARLY DECEMBER, for a variety of reasons.
The tongue-twister that is Quality Control’s Quality Control: Control the Streets, Vol 1 is as repetitive as its title.
Continue reading “QUALITY CONTROL: CONTROL THE STREETS, VOL. 1”
Here’s the thing about Taylor Swift:
Jaden Smith’s Syre is nepotism at its finest.
Cyhi The Prynce’s No Dope on Sundays features raw, relentless rap, unencumbered by the modern plague of overproduction.
One of my favorite sounds to hear in a theater after a movie ends is no sound at all. This silence usually marks a truly special shared experience, like a hushed reverence.
Continue reading “BPM (BEATS PER MINUTE): A Fictional Document of Truth”
10.5 months ago, I made a New Year’s resolution to listen to every single album that cracked Apple Music’s Top 30, plus any others released by big-name artists.
Write All Nite 