A 1773 Protest Poem, In A Mouse’s Voice

In the 18th-century lab of Joseph Priestley, “animals didn’t last long,” so the chemist’s “lab assistant, a young woman named Anna Barbauld, decided that Priestley should give his lab animals a little more respect.” She wrote “a protest poem” and “called it ‘The Mouse’s Petition to Dr. Priestley, Found in the Trap where he had been Confined all Night.'”

David Ives On His ‘Translaptation’ Of Corneille

The playwright, whose version of “The Liar” is having its world premiere at Washington’s Shakespeare Theatre, says he was “handed a gorgeous, intricate plot with extraordinary comic turns. And so all I had to do really in taking this was turn it up to 11 and increase the dials and increase the comic turns.” But, you know, in rhyming couplets.

Touting Film Locations, The World Flocks To L.A.

“Reflecting the more austere climate, there were a few notable absences” from the annual Locations Trade Show, “including film commissions from South Africa and China,” yet “there were several new foreign participants eager to tout their locations and new film programs” — such as Abu Dhabi, which helpfully pointed out that it has both “modern architecture and desert islands.”

On Architecture’s Troubled Relationship With The Future

“To the extent that we are now designing brand-new cities at all, they tend to be marked more by wariness and anxiety — particularly about looming environmental disaster, terror attacks and global epidemics — than sweeping optimism. If Brasilia embraced the future, in other words, today’s cities seem to be on guard against it.”

When A Revival Isn’t A Revival

“In recent times, theatergoers expecting a musical revival have frequently gotten a ‘revisal.’ It’s not simply that the libretto has been updated in the name of appealing to contemporary audiences or that … offensive dialogue [has] been expunged. It’s that the performers have been belting out numbers [that] weren’t part of the score the first time around.”