Daniel Breaker, a Juilliard-trained actor who's earned praise for roles as varied as Donkey in Shrek the Musical and the protagonist Youth in Passing Strange, gets to play a king in a new musical adaptation of Shakespeare's Love's Labour's Lost.
A few years ago, after songwriter Michael Friedman and writer-director Alex Timbers had finished working on their cheeky historical musical Bloody Bloody Andrew Jackson, they decided to look for a new project to work on. Friedman says they wanted the next show to have a completely different feel.
"So we started looking at Shakespeare," Friedman says. "And then, I think, we came to sort of, 'How amazing would it be to work on a romantic comedy?' "
Tools line the walls of Guy Clark's basement workshop at his home in Nashville, where he still builds guitars.
Credit Jim McGuire / Courtesy of the artist
Born in Texas and settled in Nashville, Tenn., Guy Clark has mentored generations of artists, including Rodney Crowell, Lyle Lovett and Steve Earle — all of whom cite his keen editing skills and prize his stamp of approval.
If you want to learn how to write a song — one that's built to last, with vivid characters and images that plant you squarely inside a scene — listen to Guy Clark.
Songwriters who revere Clark will tell you he crafts songs with the same precision and attention to detail he uses when he builds guitars. But Clark has a simpler, blunter explanation, as he told me with a glint in his eye when I visited him recently at his home in Nashville, Tenn.
In India, police have widened their hunt for the principal of an elementary school. It's the place where 23 children died last week after eating a toxic school lunch. The principal has been missing, along with her husband, since the day the children fell sick. An arrest warrant has been issued for her. In the meantime, parents of the victims are trying to cope with the tragedy. NPR's Julie McCarthy visited some of the families who live in one of India's poorest states.
If every era gets the historical fiction it deserves, we have been good indeed. From the transcendent psychological rummagings of Hilary Mantel to the gooey pleasures of Philippa Gregory, we can set aside flowery bodice-rippers (not that there's anything wrong with those) and view the dusty figures through lenses literary, pop culture-y, or near-pornographic.