Pennsylvania Boogie-Woogie

ICYMI: An archive of conceptual designs for Metro’s system map by Massimo Vignelli.

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On the radio: 9

Aspirational Inbox Zero. That’s my froggy voice, starting at 0:29.

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New York getaway 2019

Snaps from a long weekend in New York.

serriedIt turns out that my hotel is in the flower district of Chelsea. A nicer streetscape look, when compared to most of the residential streets, which were covered in dead Christmas trees.

no parkingHopes dashed! The Park is only a restaurant.

openThis Second Avenue subway is apparently really a thing now.

red hatThe reflections from the shop window and the strange color cast—I claim artistic license. Who knew that Stetson makes a red hat?

simpleSometimes all you need is to hang out your shingle.

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Peggy cleans herself

Perhaps the most frightening element is the lampshade that catches fire every night: props and animal wrangling on the set of The Ferryman.

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The Waverly Gallery

Kenneth Lonergan accomplishes a feat of mimesis with his text for Gladys (the masterful Elaine May), who manages a genteelly unsuccessful art gallery on New York’s Waverly Place and who is gradually succumbing to dementia. It’s a work that calls for virtuosic concentration on the part of May and her scene partners, with her false starts, repetitions, wanderings into her receding memories, and numberless offers to feed the family dog.

The narrative drive of the play, such as it is, is provided by Don (the effective Michael Cera), a young painter from the Boston suburbs, equally unsuccessful, whom Gladys befriends and offers to represent.

As Gladys slips deeper into her shadow world, her verbal improvisations become more transparent (even to her, perhaps): passing a platter of cheese at Don’s gallery opening, she offers, “Would you like some— —of this?” When Don must return to Boston for a few days, Gladys mercurially rejects him, calling him “sneaky.” This is good stuff, grounded in reality. (So much so that I began to suspect that Lonergan had been in attendance during a few choice interactions that I have personally been party to.)

Unfortunately, the play’s structure is marred by direct address narration by Gladys’s grandson Daniel (Lucas Hedges), who fills in some of the events between scenes. While Hedges is perfectly fine in his scenes with Gladys and family, his flat line readings during the fourth wall-breaking passages leads us to the conclusion that the play would be better without them.

Joan Allen as Ellen, Daniel’s mother and Gladys’s daughter, has some good moments, starting the play at a 3 of rattled by Gladys and gradually building to an 8 of frantic as she becomes unmanageable.

The play calls for four playing spaces, three of them realized in quite realistic detail by David Zinn and his team. When the art gallery was hung with Don’s paintings, I was a bit puzzled: what we see on stage, albeit quite personal and figurative, is quite skillful. Wasn’t it the point that Don is a self-deluded bad painter? Similarly, the ground plan led to some less than smooth blocking choices.

This play is a thoughtful story of loss, with some good comic bits (the schtick with adjusting a hearing aid is well timed, and not overdone) and a standout performance by May. But too much tell without show says that it would work better in a different medium.

  • The Waverly Gallery, by Kenneth Lonergan, directed by Lila Neugebauer, Golden Theatre, New York
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Sheep and goats

Maggie Jones offers a remembrance of Aiko Herzig Yoshinaga, archivist.

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A beautiful one-frame visualization of the geology of the Mid-Atlantic by Kat Cantner, courtesy of Callan Bentley.

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The year in review, 2018

So what happened to November? The lede for eleven first posts of the past months:

  • 4 January: O, I miss you sweetie.
  • 3 February: A lush, ostinato-less “Every Breath You Take,” in the lobby of Navy Federal Credit Union, Reston branch.
  • 4 March: Danai Gurira’s engaging drama takes a new angle on the ever-intriguing clash of cultures.
  • 7 April: Elizabeth G. Knight, writing in the Bulletin of the Torrey Botanical Club, 11:11/12 (November-December 1884), p. 134.
  • 14 May: The role of sound design in professional live theater, a podcast episode produced by James Introcaso.
  • 4 June: Between festivals, I stopped by Thuya Garden and Asticou Azalea Garden in Northeast Harbor—two lovely spots.
  • 7 July: My final report for the ducks and mergs team this season.
  • 9 August: So this pavement milling machine has been hanging out near the building entrance.
  • 3 September: Is there another playwright who shows such skill at introducing characters as Sarah Ruhl?
  • 6 October: I got a leg up on understanding the mystery yellow flower that I’ve seen blooming in the marsh.
  • 2 December: 75 dancers, 300 solos of work by Merce Cunningham on his 100th birthday, livestreamed.

The year in review:

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My year in books, 2018

Some favorite authors and topics are the highlights this year, but no five-star titles.

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Within you without you

Jackson [Pollock] had said, “I am nature.” In her paintings, Lee [Krasner] recognized nature as within us, without us, before us, and after us. As a continuum. As a religion. Humankind formed a part of it, but not nearly so significant a part as it imagined. (pp. 631-632)

—Mary Gabriel, Ninth Street Women (2018)
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My year in hikes and field trips, 2018

Much more fun in the field this year—and more learnings! I treated myself to upgraded binoculars.

And several trips to my home park, Huntley Meadows Park.

2017’s list. 2016’s list. 2015’s list. 2014’s list. 2013’s list. 2012’s list. 2011’s list. 2010’s list. 2009’s list. 2008’s list.

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Alex Vadukul limns Sir Shadow, artist of the Bowery’s Whitehouse Hotel.

“A man with a million dollars doesn’t have what I have.

“All that matters to me is the next poem,” he added. “The next drawing. And I have to be ready to receive it. All the other stuff? That’s someone else’s problem.”

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“Move your chair”

Timothy Semon, stage manager for the current production of Network, is onstage in a glass box.


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Upcoming: 52

Ten more shows to see this coming year! A new WATCH member company to visit (Annapolis Summer Garden Theatre) and some old standbys to judge. And four TBD’s.

  • Goldman, The Lion in Winter
  • Dietz, Sherlock Holmes: The Final Adventure
  • Levin, Deathtrap
  • Ludwig, A Fox on the Fairway
  • Jones, Hope, and Wooten, Southern Hospitality
  • Andersson and Ulvaeus, Mamma Mia!
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My year in cities, 2018

Much more traveling this year than usual! Overnight stays in 2018:

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