Home > ATLarts
THEATER REVIEW: ‘The Poetry of Pizza’
The Atlanta Journal-Constitution
Grade: B-
Deborah Brevoort’s “The Poetry of Pizza” is a zesty, easily digested romantic comedy that tastes more like thin crust than deep dish.
When a saucy American college professor goes on sabbatical in Europe, the table is set for a culture-clash caper of slamming doors, mistaken identities and amorous exchanges over the pleasures of sausage and pepperoni.
No intellectual calories will be burned. No cosmic revelations about the nature of love shall be revealed in this Theatre in the Square production. About the only surprising ingredient of this comedic mishmash is that it’s set in the cold Nordic landscape of Denmark instead of the sun-dappled splendor of Tuscany.
Yet expat poetry expert Sarah Middleton (Agnes Lucinda Harty) isn’t about to fall under the spell of the foolish married fop Ule Enevold (Scott E. DePoy) or cheesy Danish academic Heino Anderson (Robin Bloodworth). Not when the handsome Soran Saleen (David Kronawitter) is showering her with Purple Passion, Persian Kisses and Rose Petals (as she names his beautifully crafted pies).
“The Poetry of Pizza” has whiffs of magic realism (see the foodie film “Chocolat”) and the exotic allure of romantic travel tales (see “The Light in the Piazza”).
Soran, a Kurdish immigrant, is the kind of guy who gets homesick for figs and pistachios and speaks with the rhythmic thud of Sacha Baron Cohen’s Borat. Kronawitter imbues Soran with pitch-perfect comedic timing and the soul of an artist. (You can guess who the true poet is here.)
Also good are Karen Howell as Sarah’s agorophobic-turned-nymphomaniac landlady, Olga; William S. Murphey as Soran’s employer, Rebar; and DePoy, as the flustered romantic Ule, who happens to be married to another agorophobiac (played by Nita Hardy). In this dishy bunch, Harty’s Sarah seems a little bland.
Director Jessica Phelps West’s ensemble could use a lot of guidance with their Scandinavian accents, which are cartoonish one minute and non-existent the next. While costume designer Joanna Schmink’s parade of red buttons is cute, Rochelle Barker’s faux-stucco set has the curdling effect of a purple stomach laxative.
At 2 1/2 hours (including intermission), this light-as-piecrust offering stays in the oven just a bit too long and has a predictable, happily-ever-after flavor in the end. But no matter how you slice it, “The Poetry of Pizza” is still a fool-proof recipe for fun.
THE 411: 8 p.m. Tuesdays-Saturdays. 2:30 and 7 p.m. Sundays. 2:30 p.m. June 4. Through June 8. $18-$33. Theatre in the Square, 11 Whitlock Ave., Marietta. 770-422-8369, theatreinthesquare.com
Bottom line: Fresh-baked, with plenty of cheese.
Permalink | Comments (0) | Post your comment | Categories: Theater
‘In the Solitude of Cotton Fields’
The Atlanta Journal-Constitution
THEATER REVIEW. Grade: C
In Albert Camus’ existentialist novel “The Stranger,” a Frenchman kills an Arab man he sees on the beach for no apparent reason. In Bernard-Marie Koltés’ “In the Solitude of Cotton Fields,” a momentary glance between a white “client” and a black “dealer” prompts a study of the tipping point between fear and desire, attraction and repulsion.
Koltés, a French playwright who died of AIDS in 1989, had an abiding fascination with the complex relationships between blacks and whites. After producing Koltés’ “Black Battles With Dogs” in 2001, Atlanta’s 7 Stages now embarks on a 10-year investigation of the dramatist’s mysterious body of work, which uses poetry and symbolism to express his political and moral concerns.
Directed by Eric Vigner, Isma’il ibn Conner’s elegant new translation of “In the Solitude of Cotton Fields” applies a precisely choreographed vocabulary of language and movement to portray the dangerous pas de deux of the dealer (Conner) and client (Del Hamilton).
Beginning as a series of alternating monologues, “Solitude” strains to turn a passing glance into an erotically charged, 90-minute meditation on the dynamics of power, trust, control and submission. Though the psychological face-off can be a slow-going, tedious experience, it also offers moments of genuine heartbreak.
What happens when a game of seduction turns into an orgy of anguished words and regret? In this case, it’s as if the client expects a kick and doesn’t know what to do when he gets a caress. His rage over the hustler’s compassionate impulse can easily be interpreted as a case of self-loathing and homophobia.
While you admire these artists’ affinity for the material, “Solitude” treats a minor playwright with an air of self-importance that will stretch the patience of many theater-goers. At the end of the day, the piece might play better in the solitude of graduate seminars than the public domain.
THE 411: 8 p.m. tonight-Saturday. 5 p.m. Sunday.$ 25. 7 Stages, 1105 Euclid Ave., Little Five Points. 404-523-7647, 7stages.org.
Bottom line: A lot of work.
Permalink | Comments (0) | Post your comment | Categories: Theater
A Voyage Long and Strange
The Atlanta Journal-Constitution
Tony Horwitz’s book “Confederates in the Attic: Dispatches from the Unfinished Civil War” looked at ways in which the Civil War lives on, from re-enactors to controversies over a Lincoln statue. He took a year traveling to various shrines and battlefields, and the book was as much his own sometimes bizarre journey as it was a work of proper sociology.
Now Horwitz has written a new book, “A Voyage Long and Strange: Rediscovering the New World,” which covers American history from 1492 to the pilgrims, the period that even some of us history buffs are a little spotty on. That was Horwitz’s own realization one day as he stood at Plymouth Rock.
Horwitz being Horwitz, of course, this isn’t a textbook. He goes on his own pilgrimage, all around North America, visiting the sites where stuff happened, and filtering it through his idiosyncratic lens.
Here’s what our reviewer, Emory professor Michael A. Elliott, had to say Sunday in his review:
“It is in his description of how our contemporaries experience history that Horwitz really shines. He does more than serve up a cast of colorful characters. He depicts an overlooked paradox of American life: Even though surveys repeatedly show that most of us know little about our shared past, there remains a large, diverse assemblage of Americans for whom history remains very much alive. It is hard to read “A Voyage Long and Strange” without catching a little of their passion for the past.”
Horwitz will give a lecture and sign books at the Margaret Mitchell House at 7 tonight.
Permalink | Comments (0) | Post your comment | Categories: Books
No surprise: Tony snubs the megamusicals
The Atlanta Journal-Constitution
Well, the Tony Award nominations are in, and there are no major upsets or oversights.
Mel Brooks’ “Young Frankenstein” and Disney’s “The Little Mermaid” — big, expensive spectacles that were the most closely watched new shows of the fall season - fared poorly, while “In The Heights” — Lin-Manuel Miranda’s salsa-and-rap-flavored story of the Latino experience in New York — led with 13 nominations.
Megamusicals are out. Diversity is in.
Quiara Alegria Hudes, who wrote the book for “In the Heights,” is the author of “26 Miles,” a new play that will have its world premiere at the Alliance Theatre next March.
Georgia natives and previous Tony winners Shuler Hensley and Sutton Foster (who portray Frankenstein’s monster and the sexy Inga in the Mel Brooks musical) were passed over in favor of Christopher Fitzgerald and Andrea Martin, who play Igor and Fraulein Blucher in the musical comedy. Fitzgerald and Martin were nominated in the featured actor/musical and featured actress/musical categories. Scenic designer Robin Wagner picked up the show’s only other nomination.
“Young Frankenstein”’s three nods may be about what the show deserved, but I’m kinda surprised that the Mel Brooks brand didn’t carry a bit more weight. “Young Frankenstein” drew mixed reviews and shot itself in the foot early on with its high ticket prices. The Tony snub won’t do it any favors at the box office.
Disney’s “Little Mermaid” did even worse, with a paltry two nods for Natasha Katz’s lighting and Alan Menken, Howard Ashman and Glenn Slater’s score. (Menken and Slater, you may recall, wrote the music and lyrics for the Alliance Theatre’s “Sister Act.”)
After “In the Heights,” revivals led the pack, with “South Pacific” getting 11 nods, “Sunday in the Park with George” nine and “Gypsy” seven. “Passing Strange,” the musical biography of alternative rocker Stew, garnered seven nominations. (Again, diverse, innovative voices are being rewarded over glitz and spectacle.)
Among plays, Tracy Letts’ Pulitzer Prize-winning “August: Osage County” led with seven nominations. Letts is known in Atlanta for his cult hits “Killer Joe” and “Bug,” both produced by Actor’s Express, and for playing George in the Alliance production of “Who’s Afraid of Virginia Woolf?” a few years ago.
The Alfred Hitchcock spoof “The 39 Steps,” starring Lawrenceville native Jennifer Ferrin, was nominated for six prizes, including best new play.
The Tonys will be presented on June 15 in a live CBS broadcast from Radio City Music Hall. For more information, check out the full story and complete list of nominees.
Permalink | Comments (1) | Post your comment | Categories: Theater
Boots on the Ground
The Atlanta Journal-Constitution
After 9/11, Pat Tillman left a career in the NFL - safe, very lucrative - and enlisted as a U.S. Army Ranger. On April 22, 2004, he was killed in Afghanistan. The Army said he had died during a gun battle with the enemy. A month later, the Army changed its story, and said Tillman had been killed by friendly fire.
There have been numerous allegations and investigations; yet another investigation is still going on. Through all of this, Pat’s mother, Mary Tillman, has spoken out strongly against the way the Army has handled the case.
Mary Tillman has now written a book, “Boots On the Ground by Dusk: A Tribute to Pat Tillman,” about her son’s life as well as his death. She will speak and sign the book at 7 tonight at the Jimmy Carter Library and Museum., 441 Freedom Parkway, Atlanta.
Permalink | Comments (1) | Post your comment | Categories: Books
It’s time for the Tony Awards
The Atlanta Journal-Constitution
Atlanta made a big splash the morning the Tony Award nominations were announced last year. The Alliance Theatre won the Regional Tony for sustained excellence, and August Wilson’s “Radio Golf” (directed by Atlantan Kenny Leon) received four Tony nominations.
When the Tony contenders are announced tomorrow morning, we’ll be watching to see how Georgia’s Broadway contingent fares. Here’s a look at the homegrown talent, all of whom have a chance at nominations but are by no means shoo-ins.
Tituss Burgess. The Athens native is making a delightful turn as Sebastian, the fussy crab in Disney’s “The Little Mermaid.”
Sutton Foster. Already a Tony winner for “Thoroughly Modern Millie,” the star who grew up in Augusta was also nominated for “The Drowsy Chaperone” and “Little Women.” Foster plays Inga, Dr. Frankenstein’s love interest in the Mel Brooks musical, “Young Frankenstein.” The big news from Foster is that she’ll play Fiona in “Shrek: The Musical,” opening Nov. 8.
Jennifer Ferrin: This lovely actress is a native of Lawrenceville and graduate of Brookwood High School. She’s the lone female in “The 39 Steps,” the frenetic physical comedy send-up of the Alfred Hitchcock film, which happens to be airing at 8 tonight on TMC. Ferrin is known for playing Jennifer Louise Munson on the daytime soap “As the World Turns.”
Shuler Hensley: The Marietta native gets to make whoopy with “Will and Grace” star Megan Mullally, whose character ditches Dr. Frankenstein for his Monster in Mel Brooks’ “Young Frankenstein.” Hensley has already won a Tony for his portrayal of the lonely, downtrodden Jud Fry in Trevor Nunn’s “Oklahoma!”
Atlanta’s Boris Kodjoe recently stepped in for Terrence Howard to play Brick in “Cat on a Hot Tin Roof,” but Kodjoe won’t be eligible for a Tony nom.
If there were a category for biggest disappointments, “Young Frankenstein” and “Little Mermaid” would be in the game. As it is, “Passing Strange,” “In the Heights,” “Catered Affair” and “Xanadu” have all been better received. By all accounts, the best musicals on Broadway right now are the revivals: “Gypsy,” “South Pacific” and “Sunday in the Park with George.” Tracy Letts’ “August: Osage Count,” which won the Pulitzer Prize, is the best American play in decades. It will win a Tony.
The Tony Awards will be handed out live on CBS on June 15. Whoopi Goldberg will host.
Now, What Broadway shows have you seen this year? And who do you think should win a Tony?
Permalink | Comments (2) | Post your comment | Categories: Theater
Carl Hiaasen and I have something in common
The Atlanta Journal-Constitution
We both have a passionate love-hate relationship with golf. But while I just flail away, week after week, trying to either get better or get calmer, Hiaasen does the same, and then wrote a very funny book about it: “The Downhill Lie: A Hacker’s Return to a Ruinous Sport.”
Hiaasen is known for his Florida-based comic thrillers like “Nature Girl” and “Strip Tease,” so the lacerating first-person account in “Downhill” will be new to his fans. But not the humor, as he sets out on “the cart path to perdition” to improve his game and/or be at peace with it. What he finds, instead, is that “golf is as calming as a digital prostate exam.”
Hiaasen will talk and sign “Downhill” at 7 tonight at Georgia Perimeter College in Clarkston. In a phone interview last week, he was in a venting mood.
Q: Are you still playing?
A: I played yesterday and it was a bloodbath. It was like I never played the game before.
Q: Have you made any progress in how you view the game?
A: No. Yesterday was such a massacre I have nothing good to say about it. It was one of those days you want to throw your clubs off a bridge. I set out at the beginning of this experience to be able to say OK, I’m having a rotten day, but I’m still outside walking around in Florida. Theres only 3 billion people who would trade places with me in a heartbeat. If nothing else maybe I can teach myself to enjoy the game in a therapeutic way. And I’m not there yet, obviously. I have nothing to offer but bile and bitterness.
Q: Books like this are supposed to end with enlightenment.
A: This isn’t a self-help book. This is a self-abasement book. I don’t think writers are cut out to be golfers. We train ourselves to be our own toughest editors. Then you take that way of thinking on the golf course and you’re just brutally hard on yourself on every hole.
Q: What’s harder, golf or writing?
A: Both are very difficult and painful, and they’re supposed to be. If you’re gonna be good and excel at them, it’s not gonna be easy. Anything that’s easy, the outcome shows it. Day to day, the writing comes more naturally to me.
Q: I loved your writing about the ads on the Golf Channel.
A: That’s the most depressing commercials in the world, on the Golf Channel. Prostate problems, erectile dysfunction, joint pain, high cholesterol. They know their demographic. And their demographic is me.
Q: Near the end of the book you realize that the worse you play, the funnier the book is going to be, and that your editor is actually hoping your game goes as far south as possible.
A: I thought it would still be a good story if I got to a level where I was breaking 80, so there’s sort of a heroic ending. Of course it didn’t work out that way. The worse I played, the funnier it got, not just for my editor but for all my friends. I would trade the whole book for an 8 handicap any day.
Since today’s book is about golf, do we have any golfers out there who would like to try to one-up either Hiaasen or me on how insane golf makes you?
Permalink | Comments (0) | Post your comment | Categories: Books
Opening Night at Encore Park
The Atlanta Journal-Constitution
The Atlanta Symphony is in the business of presenting concerts — its own orchestral shows and, increasingly, rock acts that generate the kind of money classical performances can’t match.
To that end, the ASO’s $35 million Verizon Wireless Amphitheatre at Encore Park, an outdoor pavilion in the northern suburb of Alpharetta, opened for business Saturday night. [For background articles, click here and here.]
Nostalgia rock bands dominate the summer calendar, but the ASO claimed the inaugural concert for itself, adding its world-supreme chorus, and then over-loading the evening with extras from a jazz trio to local high school marching bands to fireworks.
Somehow it worked, mostly. Low humidity and good spirits settled over the early-summer evening, and the 12,000-seat pavilion, it turns out, has good feng shui. Designed primarily by Minnesota’s KKE Architects, Encore Park’s vibe is pleasant and bright, the seats comfortable, the sightlines clear, the aisles wide, the crowd flow manageable, and parking a breeze. Cameras on stage and big screens above let us peer into the ensemble to see a flutist pucker up for a prominent solo or a triangle adding sparkle.
Opening night attendance was just a little over 7,300, however. Next week, a more revealing stress-test of the facility comes when veteran rockers the Eagles’ play four sold-out shows.
Encore Park was designed to meet several goals. It’s a new entertainment destination for a booming region. It’s available for community rentals, like high school graduations. It’s also, as ASO chief financial officer Don Fox has put it, part of the ASO’s “financial solution” against a $4.5 million debt and mostly flat ticket sales in Symphony Hall.
Concessions are a major part of any venue’s income. At Encore Park the food services are located to each side of the stage, in full view of the audience. Light smoke and the smell of grilled meat wafted across the crowd. Like Pavlov’s dog, I got very hungry. (My Angus beef burger was dry and the bun ice cold; the fries were flavorful and crispy.)
The amphitheater is also billed as the new home of the ASO’s summertime classical concerts, relocated from Symphony Hall. To gauge the acoustics, I sat on the main floor for the first half, switched to the upper seats for the second. The stage is so high, the amphitheater so expansive, that the musicians appear far away no matter where you sit.
But while spirits were high opening night, a essential ingredient — the sound — was boomy, out of balance, strident and unacceptable as a sonic norm. And ambient white noise, from multiple generators and the chatter of crowds on the lawn, drowned out the orchestra when the playing was quiet.
Almost everything can get a pass on a hectic opening night. Undoubtedly the sound engineers will learn to better cope with the demands of acoustic instruments. But the chance to attract new listeners to classical concerts will be lost if the music is distant and distorted and the best part of the evening is the ambiance.
Is this a surprise? The need to maximize revenue for heavily amplified rock shows comes at a cost to the sonic refinements required by an orchestra.
The first musical notes heard at the new venue — a ritornello by Monteverdi — came from the Milton High School Marching Band, followed by Robert Spano conducting the ASO in the National Anthem and then, mercifully, just nine minutes of speeches. Said Alpharetta Mayor Arthur Letchas: “This is a great night for the city of Alpharetta.”
American music by Bernstein, Copland and Gershwin (his “Rhapsody in Blue,” with the Marcus Roberts Trio improvising the solo piano part) filled the rest of the opening half.
Spano’s manic energy enlivened the “Ode to Joy” Finale from Beethoven’s Ninth Symphony, and the orchestra played with commendable zest. Tchaikovsky’s “1812 Overture” capped the evening. With the ASO joined by the Atlanta Symphony Youth Orchestra and Milton and Alpharetta high schools marching bands, it made a tremendous and joyful noise.
Permalink | Comments (34) | Post your comment | Categories: Classical Music
ASO Thursday: Gorecki, Brahms
The Atlanta Journal-Constitution
Henryk Gorecki’s Symphony No. 3, composed in 1976, languished in obscurity until the late 1980s, when orchestras began programming it. Then a miracle happened.
In 1992, a Nonesuch recording, conducted by David Zinman with soprano Dawn Upshaw, became one of the biggest-selling classical recordings of all time. It topped the Billboard classical chart for 37 weeks, and even got to sixth place on the pop chart in Britain. Since then, it’s become a staple of the repertoire, and was used in Peter Wier’s movie “Fearless.”
So it’s something of a mystery that the Atlanta Symphony Orchestra has waited until this week to program it, particularly given their affinity for “safe” modern pieces. As if to make up for lost time, they’re also recording it for Telarc, though you do have to wonder whether the classical world needs yet another recording, with over two dozen already in the catalogue.
Patrons entering Symphony Hall on Thursday might have paused to make sure this was the right place. Instead of the usual unforgiving bright glare, the entire room was dimmed a bit, the sides of the orchestra shell were bathed in colors, highlighting the wall texture, and there were three giant screens behind the orchestra.
In contrast to his earlier, dissonant works, Gorecki’s Third, subtitled “Symphony of Sorrowful Songs,” is thoroughly tonal and melodic. It is also quite slow, with distinct rhythmic patterns. But change is constantly afoot, and the piece seems shorter than its actual length (about an hour). The work is a setting of three Polish texts: a 15th Century Lamentation in which Mary speaks to Jesus as he is dying, a prayer written by a teenage girl that was found on the wall of a 1944 Gestapo prison, and a folk-song in which a mother grieves over a son killed in battle.
The soloist was Christine Brewer, and her large, bright, richly colored voice was a stark contrast to the duskier sound of Ms. Upshaw. She is thrilling to hear, but her focus seemed to be altogether on producing a beautiful sound, rather than giving us a sense of the passion in her texts. Even her facial expression seemed to lack any sense of emotion. She sang with her eyes half closed, as if in a dream. I would question whether her gleaming soprano is right for such a dark piece, but there is no denying the beauty of the sound that filled Symphony Hall as the three chants soared over the strings.
No one could accuse Donald Runnicles, who is conducting, of neglecting the drama in this symphony. Like a giant, pulsing organ, his orchestra took us inside a church of sorts. You could almost smell the incense, as this is a work with a strong Eastern Orthodox feel, although the composer is Polish and Catholic. The first movement, a canon for the strings, starts almost inaudibly in the double-basses and builds up. The singing comes in the middle, then the canon slowly descends. The remaining two movements contain contrasting melodic material, but retain the New Age mystical feel and the slow tempi.
A year ago, the Brooklyn Philharmonic came up with the idea of “staging” this symphony, and brought in visual artists to put together some projections (a movie, essentially), and choreographed movements for the soprano.
Following suit, the ASO in recent seasons has done what it calls “theater of a concert” productions. Hence its own projections and the big screens, but here they scratched the choreography: Brewer is not a dancer. The images, by Anne Patterson and Adam Larsen, were quite subtle and consisted of abstracts, nature scenes, and women’s faces, slowly changing, like the score.
This business borders on pandering, but - like the projected titles - it keeps the audience involved, and there was noticeably less coughing. At times, the images were quite engrossing, and I thought they added to the impact of the piece. For me, the more important effect was the lighting of the room and the musicians, who looked so much better on the darkened stage, gently lit by the glow from their music stands.
Perhaps wanting to give the audience some relief from all this angst, after the intermission they gave us Brahms’ Symphony No. 3, his most exuberant. And here, perhaps still under the spell of the Gorecki, Runnicles’ tempi seemed quite slow at times. This was an intensely dramatic reading. Perhaps too much so. There is an energy ceiling inherent in the work, I think, and a more restrained reading actually has more impact. Still, this was a glorious performance, and it seemed fair to give the woodwinds a chance to show off after the strings had dominated in the Gorecki. Laura Ardan played the andante’s clarinet solo with warmth and great feeling. And we got a second feature from the movie-makers as well. This one consisted mostly of water and trees, and again added to the overall effect.
This concert won’t be repeated tonight, as the orchestra is heading over to Encore Park for its inaugural concert. And on Sunday, the ASO Chorus heads to Germany, where Runnicles will conduct them with the Berlin Philharmonic.
Permalink | Comments (1) | Post your comment | Categories: Classical Music
“The Last Lecture”
The Atlanta Journal-Constitution
Randy Pausch was told last August that he had 3-6 months to live. It has been nine months, and he is still alive.
That’s good news for Pausch and his family. The good news for the rest of us is that Pausch’s book, “The Last Lecture,” has been tearing up the best-seller lists lately. Which means a lot of people are benefitting from Pausch’s wondrous world-view and approach to life, and that, ultimately, his family is benefitting from every book sold. I have rarely felt so good plunking down my $22 for a book.
Here’s the story. Pausch was a professor of computer science at Carnegie Mellon University. He was an award-winning teacher who truly inspired his students, and a man who had married late in life and started a family, with three children under age six. He was diagnosed with pancreatic cancer, which has one of the worst fatality rates of any disease, and battled it for a while. But eventually it metastisized, and he and his family had to come to terms with his impending death.
So on Sept. 18, 2007, Pausch stepped in front of a packed hall at his school and delivered his last lecture, on the topic “Achieving Your Childhood Dreams. (You can watch it, at over an hour long, on the Youtube link above.) It was funny, upbeat, wise. Although the video is free on Youtube, he expanded the lecture into the book.
Pausch’s advice is not startlingly new to anyone who’s paying attention to what matters in life. Show gratitude. Tell the truth. Don’t obsess over what other people think. Decide whether you want to be Tigger or Eeyore. But the way he delivers all this, both in the video and the book, while facing a death sentence, is just flat-out overwhelming. I’m not ashamed to admit I choked up a dozen times reading this slim book.
Pausch continues to post updates on his life and health on a blog here.
I’d love to hear people’s reaction to Pausch’s last lecture. Or we can go this way: If you were dying, and could pass along some wisdom to those who live on, what would it be?
Permalink | Comments (6) | Post your comment | Categories: Books
Latest comments
The real insult was that Xanadu was nominated for best musical over Young Frankenstein. True, I didn’t think this was a strong year for musicals, but there is no reason to make the Tonys a joke, too.... read the full comment by Joyce | Comment on No surprise: Tony snubs the megamusicals Read No surprise: Tony snubs the megamusicals
Someone please tell me…is Pat Tillman the only soldier to have died in Afghanistan?... read the full comment by ??? | Comment on Boots on the Ground Read Boots on the Ground
I live in Midtown, and I agree with those who say there are things to like about many parts of metro Atlanta. And if “sniff” is going to play the role of an intown snob, he/she is going to have to learn how to spell “Palladian” (the... read the full comment by BPJ | Comment on Opening Night at Encore Park Read Opening Night at Encore Park
It was a wonderful experience. I am so glad that I don’t need to use a ton of gas and time to see wonderful performances as I witnessed Saturday night.... read the full comment by Phyllis | Comment on Opening Night at Encore Park Read Opening Night at Encore Park