Rundown of Recent Podcasts on 'The Score'

As announced here on March 17, I have become host and producer of The Score, a podcast on Bearing Drift, Virginia's leading political web site for conservative and libertarian writers. In addition to appearing on Bearing Drift, The Score is also broadcast over-the-air on WINC-AM and FM in Winchester, Virginia, and is available as a podcast on the Red State Talk Radio Network.

Since that time, I have assembled, edited, and posted eight episodes of The Score, with a wide array of interviews and features.

The first episode ("The Score: Student Debt and Social Security, LPVA Senate Hopeful, and African Progress") appeared March 17 and featured interviews with Elliott Harding, Matt Waters, and Marian Tupy.

My second episode ("The Score: Focus on the First Amendment") had interviews with former ACLU executive director Nadine Strossen, author of HATE: Why We Should Resist It with Free Speech, Not Censorship (published May 1 by Oxford University Press); John Whitehead of the Rutherford Institute; and William Hitchcock of the Miller Center of Public Affairs, who talked about his new book, The Age of Eisenhower.  A bonus feature was an interview about hemp farming with author Doug Fine.

The following week drew on interviews with authors I met at the Virginia Festival of the Book in Charlottesville ("The Score: Senate Hopefuls, True Crime, Big Chicken, and Dead Center"). It also featured interviews with U.S. Senate candidates Corey Stewart and Nick Freitas. The authors included Bill Sizemore, Radley Balko, Maryn McKenna, and Jason Altmire. Added bonus: Albemarle County Sheriff Chip Harding.

The next episode continued with author interviews from the Virginia Festival of the Book ("The Score: Pentagon Science, Richard Nixon, Social Activists, and Nicotine Regulation"), including Sharon Weinberger, Roben Farzad, and John Farrell. I also introduced a feature called "From the Archives" with Ken Hughes of the Miller Center and talked to Jamie Kirchick of the Brookings Institution and Phil Kerpen of American Commitment.

Seven days later, more author interviews ("The Score: Campus Censors, Grassroots Activism, Chappaquiddick, and More") with Keith Whittington, Emily Dufton, Joe Tone, and Jamie Kirchick, in a return appearance, plus a new weekly film review segment with Tim Hulsey, who took a look at the Ted Kennedy biopic Chappaquiddick. We also remembered the late David Rothbard of CFACT in our "From the Archives" retrospective.

Two weeks ago ("The Score: Barbara Bush, Tom Garrett, and Sgt. Stubby"), we spoke to Barbara Perry of the Miller Center about the late First Lady Barbara Bush, had a lengthy two-part interview with Congressman Tom Garrett (R-VA5), and pulled an interview with GMU Professor Colin Dueck "From the Archives." Tim Hulsey reviewed Sgt. Stubby, an animated film about a military dog in World War I.

Last week's show ("The Score: Madieu Williams, Tim Kaine, Pink House, General Assembly") included an interview with former NFL player and union representative Madieu Williams; a joint interview with David Toscano, minority leader in the House of Delegates, and state Senator Creigh Deeds; excerpts from an interview with Senegal's ambassador to the United States, Babacar Diagne; and an excerpt from a speech at UVA by Senator Tim Kaine; and Tim Hulsey's reviews of Little Pink House and I Can Only Imagine.  The "From the Archives" segment featured author Evan Thomas.

This week's episode (posted just a few hours ago) has interviews with U.S. Senate candidates E.W. Jackson and Nick Freitas; Delegate Rob Bell; and Will Lyster of the Albemarle Charlottesville Historical Society.  Tim Hulsey reviews Avengers: Infinity War and we look back at the 2012 U.S. Senate campaign with E.W. Jackson in "From the Archives."

I'll post these rundowns periodically and -- I hope -- more frequently in the months to come.

From the Archives: Five reasons to be a libertarian

Publisher's note: This article was originally published on Examiner.com on April 8, 2010. The Examiner.com publishing platform was discontinued July 1, 2016, and its web site went dark on or about July 10, 2016.  I am republishing this piece in an effort to preserve it and all my other contributions to Examiner.com since April 6, 2010. It is reposted here without most of the internal links that were in the original.

This was my fourth article published on Examiner.com. Eventually I wrote about 500 articles that appeared on the now defunct news site over the six years between April 2010 and June 2016.

Five reasons to be a libertarian
April 8, 2010 9:15 PM MST

What does it mean to be a libertarian?

Members of the Jefferson Area Libertarians, who are active in and around Charlottesville, Virginia, meet monthly for a happy hour at West Main restaurant, to discuss current affairs and other topics.

At their meeting on April 8, several JAL members answered the questions: What does it mean to be a libertarian? What is the essence of libertarianism?

Here are five of their responses.

Personal and Economic Freedom

John Munchmeyer, chairman of the Jefferson Area Libertarians, explained how he discovered libertarian thought.

“I was reading a book by Harry Browne, Why Government Doesn’t Work, sitting at Dulles Airport, waiting for a flight, when I got to the part about health care and it was like a light bulb went on in my head. It was like, “oh my gosh, government can never solve the problems in health care because it caused them in the first place.”

The essence of libertarianism to Munchmeyer? “Libertarianism is when you believe in personal freedom and economic freedom.”

Respect for True Human Rights
James Curtis is treasurer of the Libertarian Party of Virginia. He said he thinks the essence of libertarianism is “respect for true human rights, recognition that each of us owns our self, that we have the right to do as we choose, that government exists (when we choose to form governments) to protect those rights.”

Liberty and responsibility
Jim Lark, secretary of the Jefferson Area Libertarians and former national chairman of the Libertarian Party, said that libertarianism “means that you believe in individual liberty, that individuals have rights, that they have the right to acquire property, that they have the right to the fruits of their labors. They cannot, however, violate the like rights of others and they must be held responsible for their actions.”

Non-Initiation of Force
Steve LaBianca, an alternate member of the Libertarian National Committee, said that libertarianism “is a political philosophy characterized by the absence of the initiation of physical violence, physical coercion, [or] physical force.” What that means personally, he said, is “to practice not coercing anybody for any reason whatsoever. Obviously, that means I can exert force in defense of myself, if I choose to (not necessarily required).”

He added: “In a political sense, it means institutions which also do not do that, which means governments specifically should not engage in the initiation of force, as well.

‘Leave Me Alone’
Albemarle County resident Tim Hulsey, who is not affiliated with any political party but who attends JAL happy hours for the intelligent conversation, summed things up in few words:

“I hate politics. I hate the way politics always comes around to bite me in the ass, and I want politics to be less important in my life.”

The Jefferson Area Libertarians meet on the second Tuesday of each month from 4:30 p.m to 6:30 p.m. at West Main Restaurant, 333 W. Main Street, in Charlottesville. For more information, visit www.4JAL.org.

Guest Blogger: Tim Hulsey Reviews 'And the Curtain Rises'

Tim Hulsey, who recently completed a quest to see all of Shakespeare's plays performed on stage over a five-year period, accompanied me to the press performance of Signature Theatre's new production, And the Curtain Rises, the third in a series of original musicals commissioned by the American Musical Voices Project.

Here is Tim's review of And the Curtain Rises for The Metro Herald:

Signature Premieres ‘And the Curtain Rises’:

An Honorable Failure with Breathtaking Music

Tim Hulsey

Special to The Metro Herald

The world-premiere musical And the Curtain Rises, playing through April 10 at Signature Theatre in Arlington, is far from a great – or even a good – show. At the moment, it's an immensely promising rough draft, with some amusing knockabout comedy, a sweetly predictable central romance, and an uncommonly good musical score.

Unfortunately, the show also has a leaden, unfocused first act that sinks the story before it can properly begin. Many shows have “second-act trouble,” but And the Curtain Rises may be the only show I've ever seen with “first-act trouble.”

Playwright Michael Slade, composer Joseph Thalken, and lyricist Mark Campbell have combined forces – with varying degrees of success – to tell the story of The Black Crook, the 1866 song-and-dance spectacular that many scholars believe was the forerunner of American musical comedy.

Slade has clearly done his homework researching the period, cramming the book with references to 19th-century cultural arcana. Yet he seems uncertain about the story he wishes to tell. Campbell's lyrics are frequently marred by banality and triteness, as he invokes tried-and-true sentiments that showbiz folks are “family.”

Thalken, however, emerges from this show as a major new presence in American musical theater, providing an innovative, emotionally resonant musical score that invokes the best Broadway traditions while forging ahead with fresh-sounding melodies and compelling harmonies. (It doesn't hurt that Signature Theatre has graced this score with a lush fourteen-piece orchestra, which director Kristin Hanggi shows off at every possible opportunity.)

Thalken's score, glorious as it is, is yoked to the most clichéd of inside-showbiz plots: First-time producer William Wheatley (Nick Dalton) attempting to stage a hopelessly hackneyed drama written by pretentious Civil War army buddy Charles Barras (Sean Thompson). With the help of his over-the-hill leading lady Millicent Cavendish (Rebecca Watson), a ragtag group of actors, and a stranded crew of French ballerinas, Wheatley has less than two weeks to turn a surefire flop into the toast of New York. Anyone who doubts the outcome for even a split second has probably never heard of Mickey, Judy, or the old phrase “let's put on a show.”

This story has been told once before as a musical, in the 1954 Sigmund Romberg flop The Girl in Pink Tights. (The title comes from a theater legend in which French ballet dancers turned The Black Crook into a full-blown succès de scandale by dancing in pink tights that resembled bare skin under the limelight.) Perhaps in an effort to avoid cliché, the creators of And the Curtain Rises have chosen to present the genesis of The Black Crook as an ensemble piece, with several possible storylines vying for attention and no clear protagonist.

The entire first act feels diffuse and unsettled, rather like a Robert Altman film, though without Altman's subtle technique for bringing different scenes and stories into a narrative framework. A gay subplot between an underemployed composer (Brian Sutherland) and an elderly aspiring classical actor (Erick Devine) feels both extraneous and wrong for the period, as do the various entanglements of a scheming, manipulative, sexually promiscuous ballerina (Anna Kate Bocknek).

Although the second act is clearly focused and much tighter than the first, unresolved strands from the first act frequently intrude and distract from the main story. And, as one might expect, budgetary constraints prevent Signature Theatre from displaying Wheatley's most extravagant scenic effects, such as live flames and a waterfall. Even the infamous pink tights get short shrift, as a sort of coda that winks at the earlier musical that told the same story.

As William Wheatley, Nick Dalton is disappointingly bland. His second-act solos “Think ...” and “Stay“ allow him to show off his pleasant baritone, but for the most part, Dalton reacts to more colorful supporting characters instead of steering the action. Rebecca Watson makes a firmer impression as Wheatley's leading lady, and Thalken gives her a doozy of an eleven-o'-clock number with “Enter Love.”

No backstage drama would be complete without a mustache-twirling ham to play the villain, and although And the Curtain Rises breaks with tradition somewhat by assigning the role to a playwright, Sean Thompson fills it marvelously. His comic solo “The Words” is one of the few bright spots in a dismal first act. But supporting actress Alma Cuervo, as the headmistress of a French ballet troupe, seems to find the show's true heart, with her winningly low-key rendition of the show's inspirational anthem, “A Little Pretend.”

At a time when American theaters are overrun with jukebox shows and kitschy spectaculars, any attempt to revive or rejuvenate the Broadway musical is welcome, and a story about the origins of musical comedy might not be such a bad place to begin anew. Unfortunately, And the Curtain Rises is not the right story, nor indeed is it much of a story at all. Although the show must be judged a failure, it is at least an honorable one, with lofty ambitions and some breathtakingly beautiful music.

And the Curtain Rises (directed by Kristin Hanggi; book by Michael Slade; music by Joseph Thalken; lyrics by Mark Campbell) began previews on March 17, with an official opening on March 29. Performances continue through April 10. Show times are Tuesdays and Wednesdays at 7:30 pm, Thursdays and Fridays at 8:00 pm, Saturdays at 2:00 pm and 8:00 pm, and Sundays at 2:00 pm and 7:00 pm.

Tickets range from $55 - $81 and are available by calling Ticketmaster at (703) 573-SEAT (7328) or visiting www.signature-theatre.org. Group discounts are available for parties of ten or more by contacting Bethany Shannon at shannonb@signature-theatre.org or by calling (571) 527-1831. For more information please visit www.signature-theatre.org.

Photographs:

Top left - Erik Altemus (as George C. Boniface) appeals to Rebecca Watson (as Millicent Cavendish) in And the Curtain Rises. At Virginia's Signature Theatre through April 10, 2011.

Center right - Nick Dalton (as William Wheatley) shows his theatre company how to ward off evil demons in And the Curtain Rises. At Virginia's Signature Theatre through April 10, 2011.

Bottom left - Alma Cuervo (as Mme. Grimaud) speaks on behalf of her French Ballet Troupe in And the Curtain Rises. At Virginia's Signature Theatre through April 10, 2011.

All photos by Scott Suchman; courtesy of Signature Theatre: www.signature-theatre.org.

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Guest Blogger Tim Hulsey Reviews 'Sanctified' and 'Locomotion'

Sanctified satisfies at Lincoln Theatre; Locomotion derails at Kennedy Center

Tim Hulsey

Special to The Metro Herald

“Democracy,” said H.L. Mencken, “is the theory that the common people know what they want and deserve to get it good and hard.”

If that's true, then the new musical Sanctified, now playing through November 14 at the historic Lincoln Theatre, is theatrical democracy in action.  A potent brew of shout-and-holler gospel music, country comedy, Sunday-school piety, and aw-shucks know-nothingism, Sanctified knows exactly what its audience wants, and gives it to them good and hard.

The plot, what there is of it, involves the East Piney Grove Baptist Church, a dwindling African-American congregation in deep but otherwise unspecified financial trouble.  The young pastor (John McClure, Jr.) has pinned his church's last hope on a 30th anniversary Gospel Revival, and brought in his opera-diva cousin (Mary Millben) to assist with the proceedings.  A lay minister, Deacon (Frederick Strother), respectable to the marrow but lacking spiritual fervor, schemes to remove the pastor from his post.

Meanwhile, two mysterious “delivery men” (William T. Newman, Jr., and Joshua Nelson) work behind the scenes to ensure the revival's success – and it hardly counts a “spoiler” to reveal that these delivery men are actually angels in disguise.  Of course, the pastor's plans for this revival will go awry in a most amusing and heartwarming – if predictable -- manner.

Still, scene-stealing turns from Almonica Caldwell as a gossipy church lady and Ellis Foster as a doddering, unintelligible elderly chorister keep the proceedings lively, even through Sanctified's overlong, overstuffed second act. 

Moreover, playwright Javon Johnson provides a generous helping of strong comic business – most of it amusing, and all instantly recognizable -- for the squabbling, backbiting members of the East Piney Grove Gospel Choir.  But Bernadine Mitchell, as elderly Sister Sarah, walks away with the heart of the show, delivering her character's Christian homilies with world-weariness and absolute sincerity.

Then there is the score, a blend of traditional gospel tunes and original material by Rollo Dilworth and Raymond Reeder.  For a patchwork score like this, the music of Sanctified holds together fairly well, and the original title tune, “Sanctified,” is an instant Sunday-morning classic, guaranteed to linger in the mind for days.  Mary Millben, a Leontyne Price-soundalike (with showy coloratura to match), gets top honors for solo vocals, though gospel-music veteran John McClure, Jr., a top-five finalist on BET's Sunday Best, takes a strong second place: Their first-act duet “Come Out the Wilderness” is far and away the vocal highlight of the show.  Only the treacly second-act love ballad “A Miracle in Your Eyes” and the rap number “Tougher Than My God” feel out of place here; the style and subject matter of these pieces are not in keeping with the rest of the show.  (As an added bonus, for several nights of the run, the promoters of Sanctified have asked a “guest artist” to perform the next-to-last number of the evening.)

Technical aspects of the show are uneven.  The historic Lincoln Theatre, which hosted legendary performances by Duke Ellington and Ella Fitzgerald, may be the perfect venue for a show like Sanctified, but with Sanctified, problems with the sound mix along with the unpredictable acoustics of the venue occasionally make some of the voices (especially Millben's) shrill, tinny and unpleasant.  The crew seems to be working these problems out, slowly and gradually.  But visually, at least, the show is always striking, thanks to a stylishly evocative set by Tony Cisek and moody lighting from William H. Grant, III.

Playwright Javon Johnson seems to have conceived Sanctified as a Tyler Perry-esque response to the ever-popular Smoke on the Mountain series of country-gospel musicals.  The show strikes more than its share of false notes, particularly in its callous attitude toward the “hincty” college-educated opera singer, and in the impossibly trite angel subplot.  But like the East Piney Grove Gospel Choir itself, it overcomes its many problems through sheer good will.  This isn't highbrow theater by any standard, but at its best, Sanctified illuminates the triumphs and tribulations of a close-knit community of faith.  Sanctified is a mess, but it's a rousing, entertaining mess, guaranteed to leave the audience both sanctified and satisfied.

I wish I could say half as much for the world premiere of Jacqueline Woodson's Locomotion, which just finished a brief run at the Kennedy Center.  Woodson adapted this 70-minute children's drama from her Newbery Honor Award-winning book, chronicling a turbulent year in the life of an inner-city African-American orphan who finds a much-needed outlet for self-expression in his daily poetry journal.

 The book Locomotion has become middle-school required reading for all the right reasons, but few of its rough edges and hardly any of the narrative drive have made the transition from page to stage.  As eleven-year-old Lonnie Collins Motion (the “Lo-Co-Motion” of the title), Nickolas Vaughan sounds and acts more like a happy children's television host than the brooding, introverted character of the book.  Fatima Quander, playing all the women's roles in the show, is convincing in none of them.  Of the three-person cast, G. Alverez Reid makes the strongest impression, mostly in the role of Lonnie's classmate Enrique.

 As adapter and playwright, Woodson peppers her script with easy bromides, flat speeches, one-dimensional characters and crass tearjerker moments, in a manner that, ironically enough, betrays the tough-minded spirit of her original book.  Jennifer L. Nelson's broad direction condescends to her intended audience of children, most of whom seemed bored and restless at the performance I attended.  Production values are excellent, as one would expect from the Kennedy Center, but on the whole, this Locomotion goes nowhere fast.

Sanctified:  Book by Javon Johnson, original music by Rollo Dilworth and Raymond Reeder.  Directed by Derrick Sanders.  Lincoln Theatre (near U St./Cardozo Metro Station) through November 14.  Two hours and fifty minutes, including 15-minute intermission.  Tickets $37-$47 plus service and facility charges.  For tickets, call (202) 397-SEAT or visit www.ticketmaster.com.  For more information, call (202) 328-6000, or visit www.letsgetsanctified.com or www.thelincolntheatre.org.

Locomotion:  Adapted by Jacqueline Woodson from her Newbery Honor Award-winning book.  Directed by Jennifer l. Nelson.  Kennedy Center Family Theater, October 23-31.  70 minutes, no intermission.  For tickets to Kennedy Center performances, visit www.kennedy-center.org or call Instant Charge at (202) 467-4600.