Live theater has been a major focal point for the team, with James Folta leading the charge by catching a production of ANON: A Tempest at Our Kitchen Table, a brand-new theatrical work written by Anne Washburn, widely regarded as one of the most inventive and unique dramatists working today. The play centers on two distinct Texas households that find themselves navigating opposing sides of a modern culture war. Initially harboring skepticism about a premise so directly drawn from recent news headlines, Folta was ultimately won over by the production’s sharp execution. He noted that the play serves as a brilliant and deeply engaging dramatization of the contemporary socio-political moment, far transcending a simple ripped-from-the-headlines formula thanks to Washburn’s signature uncanny spectacle and razor-sharp dialogue. Folta also offered special praise for director Anne Kauffman’s inventive staging, as well as standout performances from cast members Crystal Finn and Izabel Mar. For audiences wishing to experience the production firsthand, ANON is currently running off-Broadway at MCC Theater through November 1.
The theatrical adventures do not stop in New York. Dan Sheehan has also headed out for a weekend at the theater, traveling with his father to take in the offerings of the Dublin Theatre Festival. Their destination is a performance of Eugene O’Neill’s classic American masterpiece, A Moon for the Misbegotten, which follows an immigrant Irish family attempting to build a life in rural Connecticut. Clocking in at over three hours, the epic drama has left the notoriously under-slept editor slightly anxious about the possibility of accidentally disgracing himself with an untimely nap during a quiet moment. Fortunately, the production is helmed by artistic director Garry Hynes of Ireland’s renowned Druid Theatre, whose direction has been widely praised as unmissable and is expected to keep the audience thoroughly engaged from start to finish.
While some staffers brave marathon dramatic performances, others are leaning into the celebratory spirit of the calendar. Molly Odintz has bypassed any potential fatigue by diving straight into the upcoming high holiday of Simchat Torah. Inspired by the festivities, Odintz has spent the week rediscovering the infectious energy of a classic Klezmatics track, confirming that the traditional celebratory music remains just as thrilling and vibrant as it was during her teenage years.
Meanwhile, Brittany Allen has been experiencing the high-voltage atmosphere of the New York Film Festival at Lincoln Center, riding the coattails of a generous member friend to catch several screenings. The annual gathering at Lincoln Center carries an electric energy unique to cinephiles, where hundreds of attendees eagerly debate everything from film criticism and the Criterion Closet to the nuances of Korean New Wave cinema. Among the films catching Allen’s eye are works that function as heartfelt odes to human intimacy, intelligence, and grace. These include the documentary Once Upon a Time in Harlem, which drops viewers directly into the midst of a vibrant salon filled with cultural luminaries; Mike Leigh’s Tender Loving Care, which focuses on quiet acts of sustenance and care found within families, friendships, and societal institutions; and Lee Chang-Dong’s Possible Love, a film that grounds its sharp social critique in two deeply human and emotionally resonant lead performances. All three films are anticipated to receive wider theatrical releases later in the year.
Bringing the cultural roundup back to the printed page, podcasts editor Drew Broussard has jumped into the conversation surrounding the latest crop of literary awards. Echoing the sentiments of Lit Hub columnist Maris Kreizman, Broussard has found genuine excitement in the current lists of prize finalists and shortlists, brushing aside the customary media grumbling that often accompanies awards season. The Cercador Prize list and the Booker Prize shortlist have been particular sources of joy, with Broussard expressing particular enthusiasm for recognized works such as Mike Harrison’s The End of Everything and Rebecca Perry’s May We Feed the King. Summing up his enthusiasm for the current literary landscape, Broussard noted that it simply feels like a remarkably fun time to be a reader.
