In the fall of 2012, just weeks into my Nieman Fellowship, our class went to see “Marie Antoinette” at the American Repertory Theater at Harvard University.
I struggled with the play, and I remember feeling like I couldn’t grasp what was happening on stage, that I was missing something everyone else understood. When our curator, Ann Marie Lipinski, asked me later what I thought, I admitted as much.
“Well,” she replied, turning down her mouth, “you’re hard to please.”
She wasn’t wrong.
At the time, I was a crime reporter. I had recently founded Homicide Watch D.C., an independent digital publication dedicated to telling the stories of people whose lives might otherwise be forgotten. My work revolved around police, prosecutors, defense attorneys and public records. Theater wasn’t just outside my beat — it barely registered at all.
If you had told me that evening at the start of my fellowship year that, more than a decade later, I would create a podcast (a podcast!) devoted to Boston theater (theater!), I would have laughed. I knew nothing about theater. Or podcasts. Or Boston, for that matter.
And yet that’s exactly what happened.
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