We’re on a patch of sand next to a local highway outside of Lewiston, Idaho. There’s a wonderfully gaudy, yet nearly defunct fireworks stand to the left of us. It’s right before the Fourth of July, but there isn’t a customer in sight.
Nearby, Alice and Connor, two people old enough to be grandparents, are testing some of their supply. It gives off a few sparks, just sputters and fizzles out.
The Board of Alders green-lights plans to transform parts of Dixwell and Long Wharf for the next generation.
In a unanimous vote, the alders Tuesday nights authorized Mayor Toni Harp to accept the $14.5 million from the state for the long-awaited rebirth of the Dixwell Q House, the beloved settlement house that opened in 1924 and closed in 2003.
Even in the animated video to Benjamin Scheur’s song “The Lion,” something deeply emotional happens less than a minute in. It isn’t just the nostalgia of the brown and yellow landscape, on which paper cutouts of animals — giraffes, lions, and their cubs — spring to life, nuzzle, and teach each other. There’s something deeper there too, caught in the just-flinty parts of Scheuer’s voice.
The Fiasco Theater’s production of Measure for Measure, directed by company members Noah Brody and Ben Steinfeld at the Long Wharf Theatre and running until Dec. 20, makes the Bard’s darkest comedy more viewer-friendly. First of all, the characters to keep track of has been shrunk from 21 to a much more manageable 11 (or 12 if you count the unseen Barnardine, a prisoner), and played by a cast of 6. And that means everyone but Andy Grotelueschen as the Duke — who disguises himself for most of the play as a friar — plays two roles.