Trey Graham

Trey Graham edits and produces arts and entertainment content for NPR's Digital Media division, where among other things he's helped launch the Monkey See pop-culture blog and NPR's expanded Web-only movies coverage. He also helps manage the Web presence for Fresh Air from WHYY.

Outside NPR, Graham has been a lead theater critic at the Washington City Paper, D.C.'s alternative weekly newspaper, since 1995, which means he's seen a good deal of superb theater and a great deal of schlock. He's still stage-struck enough to believe that the former makes up for the latter.

Graham began his career as a writer and editor at The Washington Blade; his subsequent tenure at USA Today included a stint as the newspaper's music and theater editor. A past fellow at both the O'Neill Critics Institute and the NEA Arts Journalism Institute in Theater and Musical Theater, Graham won the George Jean Nathan Award for distinguished drama criticism in December 2004.

Graham is also a regular panelist on Around Town, the venerable arts roundtable program on Washington PBS affiliate WETA-TV, and the author of the theater section of the newest Time Out Guide to the nation's capital. He's written about books, travel, movies and the arts for publications including The New York Times and The Washington Post.

Born in New Orleans (during Mardi Gras, no less) and raised in South Carolina, Graham has lived in Washington, D.C., since 1990 ­ except for a couple of years in Zimbabwe, which turned out to be way more fun than a politically perilous, economically disastrous situation has any right being.

* Having seen Cate Blanchett's electric Blanche DuBois, and had a public pretend-squabble with our own Bob Mondello about it, I felt like I was all up in Charles McNulty's head when I read his take on Blue Jasmine. [The Los Angeles Times]

* If you're anywhere near Winston-Salem, please note that Tonya Pinkins, whose chops are so considerable that I don't entirely know where to start with her amazingness, so just Google her, is in cabaret thereabouts, as part of the biennial National Black Theatre Festival. This is a thing that makes me want to go to North Carolina. [Winston-Salem Journal]

No, it's not Morning Shots today. Some of us just really aren't morning people. (What, breakfast is the only time you caffeinate?)

Without further ado:

* Jesse Tyler Ferguson and Justin Mikita got married, and a lot of stars were there, which is nice and all, but waitwhatdidyousaytonykushnerofficiated? <dies> [The Wrap]

When I was passing out assignments for this week's movie reviews, I noticed that none of my critics had raised a hand to bid for Turbo -- you know, the DreamWorks animated comedy about a sheltered suburban garden snail who dreams of racing in the Indy 500, and the scrappy squad of Van Nuys strip-mall snails who, with the help of an ethnically diverse array of down-on-their-luck shopkeepers, help him make that dream come true.

Wait, I think I've just figured out why I ended up with this assignment my own self.

I'm 45, single, substantially in debt and way too susceptible to jokes about redheads. And I'm telling you these things upfront because ... why not? It wouldn't be all that hard for you — or your Big Brother — to find out.

Once upon a time, it was MySpace. (Huh. Turns out you can still link to it.) Then Facebook happened. And Twitter. And beyond those two dominant social-media platforms, there are a host of other, newer options for staying in touch and letting the digital universe get a look at your life. And for certain kinds of sharing, some of those other options make more sense to tech-savvy teens than the Big Two do.

With three TIFF screenings under my belt as of midmorning Friday, I've begun to realize that I've been picking my films based on a few highly personal likes: narrative intensity, rich visuals, inventive compositions and maybe a few other variables. Here's what I mean:

Oh, the questions that circulated when this summer's Shakespeare in the Park revival of Into the Woods was announced.

Who'd play the Baker, that woebegone would-be father at the center of Stephen Sondheim's fractured musical fairy tale?

Who'd step into the star role of the vengeful Witch, played notably by Bernadette Peters in the premiere and by Vanessa Williams in the 2002 revival?

How would the show work in a giant outdoor amphitheater, amid the trees and lawns and urban clatter of Central Park?

With our fearless leader Linda Holmes away at the TCA summer press tour, the crew is forced to stumble haplessly into the studio, where I somehow flopped into the host's chair again, heaven help us.