This area has been neglected as I made my way from wrapping up Time, A Fair Hustler to packing my bags, heading north, and beginning a new adventure in graduate school at Simon Fraser University's School for the Contemporary Arts. Before jumping into the now, Barry Johnson of Oregon ArtsWatch gave a beautiful, in-depth review of Time Hustler. You can read the whole thing, or just this bit:
Hammond’s Mike is preoccupied, too—there’s a mother to find in Idaho, his dangerously close relationship to Scott, his sudden fits of narcolepsy that leave him collapsed on the floor. Hammond doesn’t try to link these aspects together; she allows them to play out in turn, disparate shards of consciousness, of desire, of biological interruption. Her Mike’s intense vulnerability emerges from this, and whether or not we remember the last sad scene of the movie, when Mike is picked up off an empty stretch of Idaho and deposited in van, we fear for this Mike as much as we did for Phoenix’s.
In addition to creating my own work (more on that soon), I recently performed in Barbara Adler's Klasika, a musical extravaganza investigation of Czech tramping, Canadian rodeo queens, and all things denim. My hair was big, my eyes were sparkling, and there was fringe on my dress. Magic.