Sitting in the church pew of a battered looking Catholic church complete with pulpit, peeling gold leaf, and stained glass is not the place I thought I would be waiting to listen to Jonathan Safran Foer talk about his new book. The Brooklyn church, which Foer revealed is only four blocks from his house, served Thursday night as the forum for Foer to talk about his latest book, Eating Animals. With his newest publication, the author steps away from fiction to explore what it means to, well, eat animals. Foer was everything I thought he would be—quiet, reserved, and articulate— but undoubtedly firm in his message.
Ashton Cooper 
“Hello Sunshine” sheds new light on Ryan Adams
Posted September 26, 2009
Most people’s reaction to the fact that Ryan Adams wrote a book of poetry, much less two, is that of general disdain, even mocking. Sure, Adams is a successful musician, but what right does he have to label himself a poet? Addressing that question is exactly what Ryan Adams and Mary Louise Parker came together to do at a Live at the New York Public Library event on Friday night. The two appeared “in conversation” to promote Adams’ second book of poetry, Hello Sunshine, but also to discuss why poetry matters.
The two were paired together due to a passion for poetry, though they also are close friends and were neighbors for three years. Yet, there couldn’t be two people less alike. Mary Louise Parker slunk onto the stage wearing all black and sat in a reclined effortlessly smooth posture that exuded absolute confidence. Honey dripped from her every word. Ryan Adams, on the other hand, was jumpy, constantly leaning forward in his chair, gesticulating forcefully, rubbing his forehead, and disheveling his hair every which way.
Oedipus Rex…Truly a Tragedy
Posted September 24, 2009
Despite the fact that the actors in Oedipus Rex were making every effort to be in the throes of tragic despair, it all just came across as kind of funny. In fact, watching Castle Shakespeare Repertory’s presentation of Sophocles’ classic was like watching a really bad horror film.
The play began with the chorus entering the theater down the main aisle whilst convulsing and crying out in anguish. While this seems an interesting way to depict the emotionally taxing nature of the famine that is happening in the first scene, it comes across as completely over the top, even laughable. The overstated nature of the first scene is a general indicator of the quality of the rest of the production. While there were a few moments that were engrossing, most of the time I found myself checking the time.
Every character delivered their lines either wailing or literally screaming at the audience. I understand that the play is a tragedy but the production had a complete lack of subtlety. People moaned their lines but rarely invested them with any real meaning. The acting was never particularly bad; it was just bland.
Jordan Feltner, who played Oedipus, was probably the best in the cast, but his most interesting moments were only when he was accompanied by light and music effects. Most of the time, I thought each of his belligerent speeches sounded exactly the same as the one he delivered ten minutes earlier. The Chorus was slightly irritating, and Daniel Kisala, who played Creon, was the worst of the lot. He tried to steal the production, even going so far as attempting to make his lines funny- not the best interpretation of Sophocles.
The costumes and set were both in poor taste. Even with a low budget, the art direction could have been a little more creative. The “Greek” tunics looked like pastel bed sheets and the set featured seductively posed Greek statuary. The whole thing was over the top. The set reflected the acting; both featured a complete lack of subtlety.
This production was unimpressive and a poor interpretation of a classic. Of all the theater produced on a daily basis in Manhattan, this play is not worth seeing.