Shakespeare’s crazy mix is perfectly clear in TFANA’s ‘Measure for Measure’

Angelo (Thomas Jay Ryan) and Escala (January LaVoy) in Measure for Measure at Theatre for a New Audience.

Angelo (Thomas Jay Ryan) and Escala (January LaVoy) in Measure for Measure at Theatre for a New Audience. (Photo: Gerry Goodstein)

What manner of beast is this play Measure for Measure? The ruler of a city decides it needs to be cleaned up and straightened out, but instead of doing it himself he gives someone else the job and goes on vacation. The man he appoints, a strict moralist, cracks down on crime as expected, but he also proves to be prone to corruption. (Shades of contemporary crusaders such as former New York attorney general Eliot Spitzer here.) It looks as if either a nun must lose her virginity or her brother must lose his head. But this disaster-in-the-making doesn’t come about, because the play changes course. The duke hasn’t left town after all. He sticks around, disguised as a monk, to see what happens, and he ends up having to fix the fixer, so to speak: he must become the one who guards against the guardian, as Plato might’ve put it, which the duke does through a set of relatively comic maneuvers that often recall Much Ado About Nothing. Continue reading


Passing glances: Jill Lepore on a particular temptation to escape

Are you weary of contemporary American politics and taking refuge in dystopian fiction? In a recent New Yorker essay, historian Jill Lepore, after surveying dystopias old and new, gives no direct advice but effectively tells us, “Don’t.”

Continue reading

Sure, Slack is fun, but that’s not all that needs to be said

A screenshot from a Slack demo.

A screenshot from a Slack demo.

Do you Slack? I didn’t used to, but I do now. And I’m pretty sure I’m getting more done and having more fun because of it. I like Slack. (So does the Church of the SubGenius, but that’s different.) Slack is spreading. If you don’t know about Slack but you use computers and work with more than a handful of people, you probably should know about it. Continue reading

Passing glances: making news pay, making Jobs sing, making protest work

Copies of the Times emerge from a cutting and folding machine, September 1942

How the news was made: Copies of the Times emerge from a cutting and folding machine, September 1942. (Photo by Marjory Collins)

When the Internet was young(er), publications, like other businesses, began establishing outposts there. This now seems like something of a recap of the original frontier experience: the Internet was fresh ground, unexplored territory, ripe for shaping, settling, colonizing, conquering. It may be going too far to say the whole thing exemplifies Frederick Jackson Turner’s Frontier Thesis (which in any case is still contested), but the expansion into the online realm has certainly been critical for periodicals.

Curiously, while most other businesses went to the Internet to sell, periodicals didn’t. Continue reading

The Echo Look: help from Amazon for the style-disadvantaged?

The Amazon Echo, which came out in 2015, is a smart speaker that responds to voice input. Amazon just released an update, called Echo Look, which not only includes the Alexa voice-response system but also has a camera, so it can both listen to you and look at you. It’s designed to sit in your bedroom and serve as some kind of fashion aide. Here’s how Jessi Hempel of Backchannel described it at the start of a short discussion: “Speak to the white oblong assistant, and it will take selfies of your outfits and let you consult style experts to improve them.”

Continue reading

Honey, I shrunk Thackeray’s novel: A condensed Vanity Fair at the Pearl

12-Pearl_Vanity Fair(c)Russ Rowland(w)

Doing the social climb: from left, Debargo Sanyal, Tom O’Keefe, Ryan Quinn, Zachary Fine, Kate Hamill, Joey Parsons, and Brad Heberlee in the Pearl’s Vanity Fair. (Photo by Russ Rowland)

Rebecca Sharp—who is not quite the central character in Thackeray’s 1848 novel, Vanity Fair, but who would like to be—resembles a reality-TV performer. By chance of birth, she occupies an ordinary station in life; what’s worse, or perhaps better, given their own dubious careers, her parents have died, leaving her—as we’re often reminded in the novel—alone in the world, forced to fend for herself. For her, as for any number of present-day persons, there’s no reason why anyone should pay attention to her, give her any leeway, give her anything at all. And so, when any chance of advancement presents itself, she feels she must take it, apply whatever skills she has (but it happens that she has many) in order to bring herself up. She seizes opportunities; she maneuvers and manipulates, not always to serve herself alone, but always to her advantage; she’s developing her brand and pays no mind to bad PR. Becky Sharp would be a sensation on social media.

Continue reading