"musical openings are like chess openings, they set the conditions of the board"
Okay.
So.
You might ask, if you were of an inquisitive frame of mind, why theater gets nary a mention
Taking Yourself Seriously
First of all, the Queen's song is scored. I need to go through it as a pianist and
In which I get very critical about MUSICALS YOU MAY KNOW AND LOVE
MELISANDE is going very well, thank you. Scoring the Queen's song; telling Larry that each note needs both
I rewrote the song...
It was actually very easy, once it came down to understanding what was wrong with it.
Also, I talked to
"oh, I get it, it's the failure mode of humanism"
The thing about writer's block is that it's a signal that something you've written
How I am adapting E. Nesbit's "Melisande"
Now that I have written about what happens when adaptation goes wrong, I might as well start writing about how
Why Tim Minchin's MATILDA makes Miss Trunchbull the hero
I am going to write more about the process through which I am adapting E. Nesbit's short story
Starting conditions
It seems as if one should not begin by announcing a project, in the sense that whenever a person announces
WHAT IT IS and WHAT TO DO NEXT, Volume 4: None of the Monitors Are Asleep
I am writing this, at half past seven, in the breakfast nook that used to be a mudroom. I spent
WHAT IT IS and WHAT TO DO NEXT, Volume 3: D4, C4
I am writing this not precisely after dawn—it is the eve of the summer solstice, and although I woke
WHAT IT IS and WHAT TO DO NEXT, Volume 2: Is It What It Is?
I am writing this shortly after dawn, in our garden. There are succulents to my right and cucumbers to my
WHAT IT IS and WHAT TO DO NEXT, Volume 1: Down the Rabbit Hole
I am writing this shortly after dawn, in May 2022, while sitting in a rocking chair that used to belong