Author: David Gorsline

Just before the gun goes off

I don’t know how else to describe the tumult produced by the MRI, so multiform and powerful that it was paralyzing, preventing me from moving forward and even seeing where I was: a chaotic unfurling of enormous sounds, like an alarm siren, an 18-wheeler’s horn, and a jackhammer all mixed together, alternating with mind-numbing jigsaw solos, monstrous duos for crusher and stamping press, vociferous trios for chain saw, grand organs, and rock drill on a counterpoint of a prehistoric ondes Martenot, the whole thing punctuated by constant and contradictory percussion, without order or relation, as if fourteen deaf, psychopathic drummers were facing off in a rage.

—Jean Echenoz, Command Performance, trans. Mark Polizzotti (2020/2025), ch. 35

Clifton Institute dragonfly/damselfly count 2025

Sunday, more of the same heat. We managed about 3-1/2 hours at Leopold’s Preserve before packing it in. Team leader A.J. did find a few Bar-winged Skimmers (Libellula axilena) for us. We also turned up some puzzling spreadwings; here’s a Lestes in need of a species ID. I still struggle with distinguishing Calico and Halloween Pennants.

I decided to forgo my high boots in the interest of keeping cool, and I brought a couple of American Dog Ticks (Dermacentor variabilis) home with me as a result.

Eastern Neck NWR butterflies

Continuing with his series of workshops on troublesome butterfly ID, Rick Borchelt took us to Eastern Neck National Wildlife Refuge in Kent County, Maryland on a hot and muggy Saturday. The refuge isn’t that far as the crow flies, but we drivers must either cross the swoopy Bay Bridge, then curl around to Chestertown to get across the Chester River, or take the long way around via Elkton.

Zebra Swallowtails were common to abundant. The headline observation was an Aaron’s Skipper (Poanes aaroni) on the same milkweed inflorescence as a couple Broad-winged Skippers (P. viator). I also got a lucky dorsal view of a Delaware Skipper (Anatrytone logan).

In non-butterfly news, I met the also-common Seaside Dragonlet (Erythrodiplax berenice).

Rick’s wrapup post includes a singularly unflattering picture of me (not that it’s difficult to accomplish) in full anti-solar gear.

At the park: 154

Overall, fledging success has been good, but we have had direct observations of Black Ratsnakes in three of our sixteen boxes, plus an additional box from which all the eggs removed/consumed by an organism unidentified. From this week’s report:

Snakes alive! Yet more Black Ratsnake activity in the boxes. We checked box #7, which was hatching on 26 May, and estimated 9 fledglings. Box #6 had reports of snake activity in the period of 26 May to 2 June. Nevertheless, we found 9 WODU eggs in the box, but they were not yet being incubated. Box #1 now has 14 eggs incubating, with an estimated hatch date of 4 July. And N. and I. found a snake in Box #3. Too much drama.

So we have four remaining boxes with possible activity: #6, #1, #3, and #60 (estimated hatch 24 June).

Let’s do a work day on Sunday, 6 July to cover those four boxes, 8:30 AM as usual. Again, we won’t need to whole team: let me know whether you can come. We’ll try to keep cool.

Operation Mincemeat

As the drop curtain flies out, the first thing we see is a pair of black patent leather wingtips belonging to Ewen Montagu (Natasha Hodgson, possessor of a righteous growl), arrogantly propped up on a desk. A little over the top, you say? Oh, just wait. This fizzy poly-character musical comedy, based on the true story of a misinformation operation designed to mislead German defenders of Sicily in World War II, hardly gives one time to breathe—the patter songs are that fast, the glitz has glitter all over it, the physical schtick goes to extremes, the character switches flash by in an eyeblink. The show doesn’t just effervesce, it hypervesces.

I’ll call out Jean Leslie’s (Claire-Marie Hall) Beyonce-level song, “All the Ladies,” and Hester Legatt’s (Jak Malone) quiet “Letter to Bill.” Hester is fabricating a letter from home to a British flier (in order to build up the subterfuge), and her heartbroken subtext elicits some snuffles in the audience. Malone also appears as an American pilot, with all the Yankee doodles.

Highly recommended.

  • Operation Mincemeat, book, music, and lyrics by David Cumming, Felix Hagan, Natasha Hodgson, and Zoë Roberts, orchestrations by Steve Sidwell, directed by Robert Hastie, John Golden Theatre, New York

See Brian Selbert’s piece for the Times for a peek at the backstage magic.

New York May 2025

Sited art and found art in NYC.

circlesthree sidesDetails from the stunning Abstract Futures, by Hilma’s Ghost collective (Sharmistha Ray and Dannielle Tegeder), 3rd Avenue entrance to the 7 train.

Abstract Futures, title panel

space for rentP???man Building, 350 W. 31st Street. Maybe “Postman,” as it is home to a postal workers’ union and is right across the street from the Farley post office.

seatingingredients listLooking through Tony Smith’s Throwback at a proffered plaza between 45th and 46th Streets. The marker has a hilariously detailed catalog of what the plaza has to offer:

This plaza contains: 78 linear feet seats with backs, 606 lf planter seats without backs, 134 movable chairs, 35 trees, 1 drinking fountain, 3 bicycle racks, 160 cubic feet litter receptacles, 1 drinking fountain, 1 water fountain, 1 artwork

hotel viewThe view from the 16th floor of the Marriott Marquis. At center, the relatively diminutive St. James Theatre on 44th Street, surrounded by rooftop water towers.

Antony and Cleopatra

For the most part, the most effective passages of this newish piece are the orchestral interludes: the marriage of Antony and Octavia, the battle at Actium, Rome’s celebration of victory over Cleopatra and Antony’s forces. A significant exception is the chilling scene of Octavian’s (Paul Appleby) victory speech, staged as a radio broadcast by a certain Italian leader of the 1930s-1940s.

A hammered dulcimer/cimbalom in the orchestration adds an exotic note.

There’s just something about the character dynamics of Shakespeare’s play that fail to make a compelling story.

  • Antony and Cleopatra, composed by John Adams, libretto adapted by John Adams from William Shakespeare, directed by Elkhanah Pulitzer, The Metropolitan Opera, New York

Floyd Collins

The new production at Lincoln Center is a luminous reading of Adam Guettel’s Floyd Collins, a musical inspired by the true story of the titular Kentucky caver who found himself trapped, while a media circus sprang up above ground. Lighting by Scott Zielinksi catches Floyd in follow spots as he spelunks; backlighting sharply delineates townspeople in silhouette tableaux against the cyc.

Guetell’s twisty music likewise follows Floyd up, under, over, and around during “The Call” sequence. When Floyd (Jeremy Jordan) is joined by his younger brother Homer (Jason Gotay) for the duets “Daybreak” and “The Riddle Song,” the results crackle with electricity. The Reporters’ patter song “Is That Remarkable” is all one could wish for.

Floyd’s set contrivance on which he spends much of his time supine has perhaps been modified: it doesn’t quite resemble the lounge chair that bothered some critics. Maybe a lounger as designed by Gerrit Reitveld.

Monochrome costumes (Anita Yavich) and props for “The Dream” foretell Floyd’s demise.

  • Floyd Collins, music and lyrics by Adam Guettel, book and additional lyrics by Tina Landau, orchestrations by Bruce Coughlin, directed by Tina Landau, Lincoln Center Theater at the Vivian Beaumont, New York

TK: Notes on differences in the performed music from the recorded original cast album.

Dead Outlaw

Rollicking is a word perhaps falling out of use, but it’s a good one for Dead Outlaw, an ensemble and country rock band comic musical about the preposterously improbable life and afterlife of Elmer McCurdy, feckless bank robber of the early 1900s whose mummified corpse was a sideshow attraction into the 1940s. Oh, and promotional device for 1930s exploitation filmmaker Dwain Esper.

The show-stopper song is “Up in the Stars,” sung and swung by Thom Sesma as Los Angeles County Cornoner Noguchi, a medical professional who’s seen a thing or two. Ring-a-ding-ding! Andrew Durand is McCurdy: it’s the only time that you’ll read “stiff” as complement for an actor. Carrying the narrative ball of wax through time and space is good ole boy Jeb Brown as narrator and Bandleader.

Props to the technical crew, who manage to bring a loaded concrete mixer onstage for Elmer’s final rest, and to deftly turn the quick striking of a set piece into a sight gag.

  • Dead Outlaw, music and lyrics by David Yazbek and Eric Della Penna, book by Itmar Moses, orchestrations by Della Penna, Dean Sharenow, and Yazbek, directed by David Cromer, Longacre Theatre, New York