In the current Broadway production of Twelfth Night, Mark Rylance plays Olivia, a role which sees him plaster his face in white makeup and style his hair into a “pouf like a charcoal brioche.” Rylance, the first artistic director of the Globe Theatre in London, projects such a palpable “air of distracted grief” in his performance that “the carapace of theatricality evaporates,” Charles Isherwood writes. The Times theater critic also highlights the work of John Douglas Thompson and Harriet Walter.
Riffing on R&B singer Ernie K-Doe’s one-time statement, Chris Rose writes in the Oxford American, “I’m almost positive that all music, at least all American music, comes from Louisiana.” The essay appears in this year’s OA Southern Music Issue, a reliably excellent source of tunes and writing. Indeed, as Dwight Garner put it in The New York Times, the CDs that accompany each annual issue “practically belong in the Smithsonian.”
Hyperallergic has excerpts from Rokudenashiko’s graphic memoir What Is Obscenity? The Story of a Good For Nothing Artist and Her Pussy, which Michael Melgaard recently reviewed at The Millions.