NYC. A podcast I participated in for the wonderful new initiative, Play for Voices, is now live. You can take a listen here: I Regret Nothing with Paul Valley, Rob Neill, and Jocelyn Kuritsky. Direction by Sarah Cameron Sunde.
It’s the summer of 2006, and Dominic Cormoş, a retired agent of the Securitate--the notorious secret police of Communist Romania--is living alone in his Transylvania apartment. With media coverage of the prosecutions of ex-Communist law enforcement officials in the background, Dominic is paid two surprise visits that will prove deeply consequential: the first, by Alex Dima, who served under Dominic in the Securitate and is now working in the Romanian Intelligence Service; and the second, by his sixteen-year-old neighbor Liza.
NYC. In the wake of the election, there has been a surge of activism, & a deeper questioning of how we navigate our personal and professional politics day-to-day. I think women in the theater community are consistently kept subordinate to their male counterparts, and this plays out in a variety of ways. In criticism, I've encountered a ton of sexist language used in the evaluation of women in theater on a myriad of levels, from an array of critics. In the past there has been some community response to disrespectful critiques; but it's, of course, hard to keep momentum. Currently, there is an intensive debate that is circulating women and their work in the theater, and how it's being evaluated. Here is a response via The Interval to Hilton Als' New Yorker review of Sweet Charity. Here is another response from Howard Sherman. I recommend the read(s), and if you can find ways to take action and open dialogue, I believe now is an opportune time.