This week in the Voice, out today, Michael Feingold says in his essay on the OBIES that Broadway kinda sucks: “Sitting through Man and Superman and The Caretaker, after a week that had included Ghost, Don’t Dress for Dinner, and Leap of Faith, I realized that I didn’t hate theatergoing at all: I just no longer saw the point of going to Broadway. My seven days of torment had taught me that the theater was fine, but that Broadway was irrelevant to it.”
In food, Robert Sietsema eats a lot of heat Little Pepper, “Heat levels are not indicated on the leatherette-bound bill of fare, but look to the paper menu by the front door for chile-pepper sign language indicating degree of spiciness, running from one to three. One of the few selections to garner three chiles is chicken in Sichuan sauce. This represents the fabled chong qing chicken, rendered with a seriousness of purpose never seen in Gotham before.”
Since we’re approaching the midyear mark, music’s Maura Johnston has assembled a list of 2012’s best singles and arguing of The Flaming Lips feat. Ke$ha and Biz Markie, “2012 (You Must Be Upgraded),”Their unhinged ode to this year’s possibly impending apocalypse has glass-shard guitars, a bleat from Biz Markie, and a tour de force performance from pop’s queen of hedonism, Ke$ha, who should really think about fronting a noise band once the Dr. Luke hooks dry up. Recommended listening for reading Twitter during a peak in the news cycle.”
Karina Longworth reviews Wes Anderson’s Moonrise Kingdom, writing, “The tics that have sometimes distanced viewers from real emotions in his previous films (particularly, the fetishizing of analogue objects and characters who greet the world in costume, props in hand) are here much more integrated into the fabric of the film’s period construction and its story.”
And in art, James Hannaham goes to the Gerhard Richter-inspired show at Postmasters Gallery, explaining “Because ‘Richteriana’ qualifies both as an art exhibit and an argument, the works in the gallery walk a fine and squiggly line around many points related to Richter, his commodification, and his legacy. Depending on which piece in the gallery you consider, the show can seem like an attempted takedown, an homage, a refutation of the hype, or an update.”
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