WBEZ | Matt Hawkins http://www.wbez.org/tags/matt-hawkins Latest from WBEZ Chicago Public Radio en Take-charge Stacy Stoltz in 'Assisted Living' http://www.wbez.org/blog/onstagebackstage/2012-01-11/take-charge-stacy-stoltz-assisted-living-95454 <img typeof="foaf:Image" src="http://llnw.wbez.org/blog/photo/2012-January/2012-01-11/assisted living.jpg" alt="" /><p><p> <style type="text/css"> <!--{cke_protected}{C}%3C!%2D%2D%0A%20%2F*%20Font%20Definitions%20*%2F%0A%40font-face%0A%09%7Bfont-family%3A%22Times%20New%20Roman%22%3B%0A%09panose-1%3A0%202%202%206%203%205%204%205%202%203%3B%0A%09mso-font-charset%3A0%3B%0A%09mso-generic-font-family%3Aauto%3B%0A%09mso-font-pitch%3Avariable%3B%0A%09mso-font-signature%3A50331648%200%200%200%201%200%3B%7D%0A%20%2F*%20Style%20Definitions%20*%2F%0Ap.MsoNormal%2C%20li.MsoNormal%2C%20div.MsoNormal%0A%09%7Bmso-style-parent%3A%22%22%3B%0A%09margin%3A0in%3B%0A%09margin-bottom%3A.0001pt%3B%0A%09mso-pagination%3Awidow-orphan%3B%0A%09font-size%3A18.0pt%3B%0A%09font-family%3A%22Times%20New%20Roman%22%3B%7D%0Atable.MsoNormalTable%0A%09%7Bmso-style-parent%3A%22%22%3B%0A%09font-size%3A10.0pt%3B%0A%09font-family%3A%22Times%20New%20Roman%22%3B%7D%0A%40page%20Section1%0A%09%7Bsize%3A8.5in%2011.0in%3B%0A%09margin%3A1.0in%201.25in%201.0in%201.25in%3B%0A%09mso-header-margin%3A.5in%3B%0A%09mso-footer-margin%3A.5in%3B%0A%09mso-paper-source%3A0%3B%7D%0Adiv.Section1%0A%09%7Bpage%3ASection1%3B%7D%0A%2D%2D%3E--></style> </p><p>We’ve all been there—or will be someday. We develop a bad case of creeping middle age and a closely related sense of diminishing options. We’ll never fly on the flying trapeze, never get that advanced degree in fiber arts. Hell, we won’t even learn how to knit. Even worse, as we begin to doubt our own reserves and capabilities, we’re often saddled with the care of aging or otherwise dependent relatives.</p><p style="text-align: center; "><img alt="" class="caption" src="http://llnw.wbez.org/blog/insert-image/2012-January/2012-01-11/assisted living.jpg" style="width: 600px; height: 450px; " title="Jordan Stacey and Stacy Stoltz in 'Assisted Living'"></p><p>In a nutshell, that’s 39-year-old Anne Kelly in Deirdre O’Connor’s unexpectedly hilarious <em>Assisted Living</em>. It’s an understatement to say Anne is starting to feel the strain of a decade living with and caring for a mother with dementia. Meanwhile her ne’er-do-well younger brother does little or nothing.</p><p>Yet Anne is not going gentle. In fact she’s light-years from the stereotypical self-sacrificing spinster.</p><p>“It’s fun to be angry and act badly—and let the audience feel why,” says Stacy Stoltz of her role in <a href="http://www.profilestheatre.org/">Profiles’ world premiere, recently extended</a> a second time.</p><p>“I find Anne easy to relate to,” Stoltz adds. “She’s not apologetic about her behavior. She’s angry and frustrated and behaving badly, yet I’m able to show her vulnerability in a way everyone can understand. There are a lot of opportunities to show why she’s so cornered and desperate—and fighting. It’s the kind of role many playwrights don’t write for women.”</p><p>Like Anne, Stoltz says, “I’m not really able to control my emotions. I’m an open book.” For all her characters, she says, “I use my personality, which I guess has a lot of jagged edges.” When she played Roxanne in <a href="http://www.wbez.org/blog/onstagebackstage/2011-09-21/getting-nosy-shawn-pfautsch-cyrano-92261">House Theatre’s <em>Cyrano</em></a>, for example, she aimed to make her more than “just a pretty, spoiled princess.”</p><p>Anne’s complexity makes it easy to understand why her mom’s new caregiver, a lovable young loser named Levi, is attracted to this “sexy librarian.” At the performance I saw, at a crucial point in their relationship, the audience burst into cheers and applause—a tribute to Joe Jahraus’s unsentimental yet sympathetic production and to the deft work of Jordan Stacey as Levi.</p><p>Stoltz, who has faced her own challenges with family, says, “I feel very connected to Anne and to the story we’re telling, and I want to keep growing with it. There’s always something more to learn—some new avenue to explore.”</p><p>A member of both the Hypocrites and the House, Stoltz has been married to <a href="http://www.wbez.org/blog/city-room-blog/peter-pans-matt-hawkins-takes-flight">actor-director-fight choreographer Matt Hawkins</a> since 2007. They met in 2002 at a Collaboraction party, and though the attraction was apparently instantaneous and mutual and the two talked, Hawkins didn’t immediately ask Stoltz out. So, in a move worthy of Anne, “I grabbed him as he was walking away and asked <em>him</em> out,” she says.</p><p>In 2010, playing Stella and Stanley Kowalski in Writers' Theatre's acclaimed <em>A Streetcar Named Desire</em>, the two were famously hot for each other. “We loved working together,” says Stoltz, who adds that she also collaborated with her husband on <em>Cyrano</em>, for which Hawkins did the bang-up fight choreography.</p><p>“With <em>Streetcar</em>, there’s a strong physical relationship, obviously. And being physical with Matt, as an actor, I trust him 100 percent. He knows the choreography, and he has such control. I felt I could relax.”</p><p>“Sometimes it just felt so easy to connect—because part of it was real,” Stoltz says of their experience in <em>Streetcar.</em> “I can’t wait for another opportunity to be onstage with Matt again.”</p></p> Wed, 11 Jan 2012 15:06:00 -0600 http://www.wbez.org/blog/onstagebackstage/2012-01-11/take-charge-stacy-stoltz-assisted-living-95454 Getting nosy with Shawn Pfautsch as Cyrano http://www.wbez.org/blog/onstagebackstage/2011-09-21/getting-nosy-shawn-pfautsch-cyrano-92261 <img typeof="foaf:Image" src="http://llnw.wbez.org/blog/photo/2011-September/2011-09-21/cyrano.jpg" alt="" /><p><p>“Every night before the show we do a fight call, we do a music call, and then we do a nose-color call, where I get worked on for about 15 minutes.”</p><p><img alt="" src="http://llnw.wbez.org/blog/insert-image/2011-September/2011-09-21/cyrano2.jpg" style="width: 500px; height: 315px; " title=""></p><p>You never really think about the ramifications of noses until, well, you have to. Shawn Pfautsch, 33, is now playing the nasally well-endowed, and challenged, Cyrano in <a href="http://thehousetheatre.com/">House Theatre’s swashbuckling adaptation of Edmond Rostand’s 1897 classic</a>. He had to think about noses. A few days at the beach, for example, wreaked havoc on the match between Pfautsch’s real face and fake schnoz. Hence the nightly color adjustments.</p><p>“In rehearsals, I wore a store-bought practice nose,” Pfautsch says. “We had to make sure that none of the fight choreography or any of my various and sundry stage business would get in the way. And we wanted to make sure I could breathe out of it, because those swordfights are strenuous and I didn’t want to get to the end of a fight and pass out.”</p><p><img alt="" src="http://llnw.wbez.org/blog/insert-image/2011-September/2011-09-21/cyrano.jpg" style="margin-left: 10px; margin-right: 10px; margin-top: 10px; margin-bottom: 10px; float: right; width: 266px; height: 400px; " title="">“We were very particular in what we wanted,” he adds, “and Ora [Jewell-Busche, who does makeup at Lyric Opera] was amazing at giving us that. We wanted something that looked like an extension of my own nose, we wanted something that wouldn’t fall off. We went through three or four iterations till we found one that was the length we wanted. She builds a new nose for me every week.”</p><p>“I suppose if I were a Method actor,” Pfautsch says, “I would have put one on and gone to a bar to see what people would say to me.” He’s not, I guess, and he didn’t—but I would have paid to be a fly on the wall there.</p><p>Pfautsch—a House founding member who went to school at Southern Methodist University with <em>Cyrano</em> <a href="http://www.wbez.org/blog/city-room-blog/peter-pans-matt-hawkins-takes-flight#">director Matt Hawkins</a>—says that his character’s simultaneously confident/insecure mindset is “a natural place for me. I think it’s one reason Matt cast me in the role.”</p><p>Still, Pfautsch adds, “I was a little bit apprehensive about what Cyrano’s ‘panache’ is and what that means. Matt and Stacy [Stoltz, Hawkins’s real-life wife—and Cyrano’s love interest, Roxane] both assured me from the beginning, ‘Don’t worry about inventing what that is, because you have panache.’ But it’s still always something in the back of my head.”</p><p>Pfautsch’s portrayal balances arrogance and sweetness on a knife’s edge, a balance that wasn’t easy to attain—especially in the crucial first scene, which concludes with what he calls Cyrano’s “fight and write” feat. “We went through about a dozen iterations of that scene!” he says. “We started with this jovial, ‘I have status so I don’t need to raise my voice’ version of Cyrano. But late in the process, in previews, we decided to juice that first scene and make him a much more—for lack of a better word—‘loud’ presence.”</p><p>After <em>Cyrano</em> closes, Pfautsch says, “I have my storefront-theater dance card punched until May.” First up, in November, is a reprise of his mandolin-strumming role in <a href="http://www.the-hypocrites.com/2011-12season">the Hypocrites’ remount of <em>Pirates of Penzance</em></a>.</p><p>Pfautsch also officially has his writer’s hat back on (his 2007 <em>Hatfield &amp; McCoy</em>, produced by House, was nominated for a Jeff award). He’s one of three playwrights who’ve been asked to adapt <em>Moby-Dick</em> for the stage and to workshop their scripts next spring.</p><p>“I am a huge Melville fan,” he says. “Honestly, what draws me to [<em>Moby-Dick</em>] is that no matter how hard I try to explain the why and how of my interest in it, I get caught in the labyrinth of its depth.” Harpooning the Great White Whale: something Cyrano might have attempted if he’d been a sailor, not a soldier.</p></p> Wed, 21 Sep 2011 14:12:00 -0500 http://www.wbez.org/blog/onstagebackstage/2011-09-21/getting-nosy-shawn-pfautsch-cyrano-92261 Vincent Teninty raises Pine Box Theater Company from the dead http://www.wbez.org/blog/onstagebackstage/2011-07-27/vincent-teninty-raises-pine-box-theater-company-dead-89702 <img typeof="foaf:Image" src="http://llnw.wbez.org/blog/photo/2011-July/2011-07-27/DSC_5787 copy.jpg" alt="" /><p><p> <style type="text/css"> <!--{cke_protected}{C}%3C!%2D%2D%0A%20%2F*%20Font%20Definitions%20*%2F%0A%40font-face%0A%09%7Bfont-family%3A%22Times%20New%20Roman%22%3B%0A%09panose-1%3A0%202%202%206%203%205%204%205%202%203%3B%0A%09mso-font-charset%3A0%3B%0A%09mso-generic-font-family%3Aauto%3B%0A%09mso-font-pitch%3Avariable%3B%0A%09mso-font-signature%3A50331648%200%200%200%201%200%3B%7D%0A%20%2F*%20Style%20Definitions%20*%2F%0Ap.MsoNormal%2C%20li.MsoNormal%2C%20div.MsoNormal%0A%09%7Bmso-style-parent%3A%22%22%3B%0A%09margin%3A0in%3B%0A%09margin-bottom%3A.0001pt%3B%0A%09mso-pagination%3Awidow-orphan%3B%0A%09font-size%3A18.0pt%3B%0A%09font-family%3A%22Times%20New%20Roman%22%3B%7D%0Atable.MsoNormalTable%0A%09%7Bmso-style-parent%3A%22%22%3B%0A%09font-size%3A10.0pt%3B%0A%09font-family%3A%22Times%20New%20Roman%22%3B%7D%0A%40page%20Section1%0A%09%7Bsize%3A8.5in%2011.0in%3B%0A%09margin%3A1.0in%201.25in%201.0in%201.25in%3B%0A%09mso-header-margin%3A.5in%3B%0A%09mso-footer-margin%3A.5in%3B%0A%09mso-paper-source%3A0%3B%7D%0Adiv.Section1%0A%09%7Bpage%3ASection1%3B%7D%0A%2D%2D%3E--></style> </p><p><img alt="" class="caption" src="http://llnw.wbez.org/blog/insert-image/2011-July/2011-07-27/Vincent Teninty.jpg" style="width: 300px; height: 370px; margin: 10px; float: right;" title="Pine Box artistic director Vincent Teninty">“I trust Steve [Pickering], as far as throwing me against the wall or slamming my head against the table, so I’m never afraid of getting hurt,” says Vincent Teninty, now performing in the brutally physical <em>A Girl With Sun in Her Eyes</em>. “I fear more for the audience, getting scared. We’ve had some women in the front row that, the look of fear in their eyes during that fight …”</p><p>Pickering plays a burnt-out cop, and Teninty a hapless hungover salesman, in <a href="http://www.pineboxtheater.org/">Joshua Rollins’s brand-new police procedural</a>, featuring <a href="http://www.wbez.org/blog/city-room-blog/peter-pans-matt-hawkins-takes-flight">Matt Hawkins’s bone-rattling fight choreography</a>. Because of the small stage, Teninty says, “It’s basically television—it’s right there. So it had to be clean and crisp, but at the same time it had to look dirty and gritty.” It does, in spades.</p><p>The other hat Teninty wears in this production: he’s the new artistic director of Pine Box Theater Company, which went dormant in 2008. Since then, he says, “We’ve thrown around scripts, had a couple readings, trying to decide, ‘OK, if we do come back, what’s the right show to come back with?’ [Director] Matt Miller gave this script to Pine Box in December of 2010, and I said, ‘This is the one we need to go with.’”</p><p>“Every single one of the characters has a hidden truth, has something to hide,” says Teninty. “And our mission statement is a quote from Galileo: All truths are easy to understand once they are discovered. The point is to discover them.”</p><p>Teninty is arguably typecast in his role: a married father of three-year-old twins, he talks on Pine Box’s <a href="http://girlwithsun.wordpress.com/2011/06/21/what-if-i-had-by-vincent-teninty/">blog about a real-life solicitation by a prostitute</a>. That’s pure coincidence, he says, but acknowledges the character is like him. “That made it easier to kind of jump-start into the role: ‘OK, I know who this guy is, cuz he’s me!’ But then [director] Matt Miller really wanted to dig a little deeper. I was hiding myself, almost ashamed of who I was and the fact that this character and I had so much in common.” He calls his revelatory reminiscence in a hotel room “probably one of the toughest monologues I have done to date, simply because a lot of it rings true. Having to reveal that every night is very, very tough.”</p><p><img alt="" class="caption" src="http://llnw.wbez.org/blog/insert-image/2011-July/2011-07-27/LandyandWilliam2.jpg" style="width: 283px; height: 425px; margin: 10px; float: left;" title="Steve Pickering and Vincent Teninty in 'A Girl With Sun in Her Eyes' ">Of the six actors in <em>Girl</em>, four are Equity, including Pine Box company members Teninty and Audrey Francis. Now the other Equity performers—Pickering and Karen Aldridge—are joining Pine Box, in a well-deserved coup for Teninty. How does a little itinerant company that’s only recently resurfaced pay Equity wages and bennies? “You’ve got to find ways to raise money nontraditionally,” Teninty says. “From December till opening, I raised over $31,000 to put this together, cuz I knew that it was going to be a nice chunk of change—which the play absolutely deserved. I schmooze, wheel and deal, and do a lot of kissing butt.”</p><p>Pine Box is planning to announce a two-show season plus a possible remount of <em>A Girl With Sun in Her Eyes</em>, which closes on August 7. One of the two plays will probably be another by Joshua Rollins. “That kid is amazing,” says Teninty. “I mean, he poops scripts.”</p><p>“This has been a massive learning curve for me,” Teninty adds. “It’s our first Equity show, and being an Equity producer, and figuring out finances. I’m always thinking, like, ‘What about next week?’ And I’ve got to do this and I’ve got to do that, and it just never stops. My wife is always reminding me, ‘Hey, look what you’ve accomplished so far. Look at everything you’ve done.’ But I can’t right now, I can’t.’”</p></p> Wed, 27 Jul 2011 14:23:00 -0500 http://www.wbez.org/blog/onstagebackstage/2011-07-27/vincent-teninty-raises-pine-box-theater-company-dead-89702 Morning Rehearsal: Chicago theater 5/7 http://www.wbez.org/blog/onstagebackstage/2011-06-07/morning-rehearsal-chicago-theater-57-87513 <img typeof="foaf:Image" src="http://llnw.wbez.org/blog/photo/2011-June/2011-06-07/img_pho_home.jpg" alt="" /><p><p>1. The <a href="http://www.jeffawards.org/Nominees/recipients_nonequity.cfm">2011 Non-Equity Joseph Jefferson Awards</a>&nbsp;(Jeff Awards) have been announced, with repeat wins by&nbsp;<em>Cabaret </em>by The Hypocrites, <em>The Three Faces of Dr. Crippen </em>by&nbsp;The Strange Tree Group,<em> </em>and&nbsp;<em>Cats</em> at Theo Ubique Cabaret Theatre. Also notable: Redtwist's <em>Man from Nebraska</em> won best production. There were more than <a href="http://timeoutchicago.com/arts-culture/theater/14797961/hypocrites-redtwist-take-top-honors-at-2011-non-equity-jeff-awards">a few awkward moments</a> at the award ceremony; Director Brenda Diddier <a href="http://leisureblogs.chicagotribune.com/the_theater_loop/2011/06/2011-non-equity-jeff-award-winners.html#more">was announced</a> as winner for Best Director of a Musical, when it was actually to be awarded to Matt Hawkins. Diddier even gave an acceptance speech, before Hawkins said&nbsp;"Brenda, look at your plaque. This is not really awkward at all." Jonathan Abarbanel has more <a href="http://www.wbez.org/blog/onstagebackstage/2011-06-07/robots-invade-jeff-awards-martians-next-87512">on the Jeff Award wins</a>&nbsp;(and robots)!</p><p style="text-align: center; "><img alt="" class="caption" height="292" src="http://llnw.wbez.org/blog/insert-image/2011-June/2011-06-07/img_pho_home.jpg" title="" width="253"></p><p>2.&nbsp;The world premiere of&nbsp;<em>A Girl with Sun in Her Eyes</em>&nbsp;starts at Pine Box Theater on June 25. The play, by Joshua Rollins, looks into a police officer who has been reported missing on the South Side. They're billing it as "<em>The Shield</em>&nbsp;meets&nbsp;<em>Memento</em>," so if you have watched those, you'll know what it's about.</p><p>3. Yesterday, Florida Stage announced they were filing for bankruptcy. Notably, it was the largest theatre company in the nation producing new work. "The South Florida Theatre Community is grieving right now," <a href="http://www.2amtheatre.com/2011/06/06/the-loss-of-florida-stage/">wrote Andie Arthur,</a>&nbsp;a theater administrator in South Florida. "All day I’ve been having phone calls where with clipped conversations and long periods of silence, reminding me of the awkward conversations at a funeral. After any major arts organization fails, you need to have difficult conversations&nbsp; – but right now we need to grieve."</p><p>4.&nbsp;<a href="http://timeoutchicago.com/arts-culture/theater/14796595/bug-at-redtwist-theatre-theater-review" style="color: rgb(2, 122, 198); text-decoration: none; ">Speaking of&nbsp;<em>Bug</em>'s director Kimberly Senior</a>, TimeOut's John Beer says that "she might just be our theatrical version of Kathryn Bigelow." You'll recall that Kathryn Bigelow won an Oscar for Best Director in 2010 for <em>The Hurt Locker</em>, and was the first woman to do so.</p><p style="text-align: center; "><iframe frameborder="0" height="225" src="http://player.vimeo.com/video/22786489?title=0&amp;byline=0&amp;portrait=0" width="400"></iframe></p><p>5. New Leaf Theatre's <a href="http://newleaftheatre.org/current.php"><em>Lighthousekeeping </em></a>opens&nbsp;in previews tomorrow at the DCA Storefront Theater. The video above elaborates, but its about&nbsp;&nbsp;an "epic journey of love, longing, and light explores the gambles and gifts of choosing to change from one life to the next." I just like the title.</p><p>Questions? Tips? Email kdries@wbez.org.</p></p> Tue, 07 Jun 2011 14:32:00 -0500 http://www.wbez.org/blog/onstagebackstage/2011-06-07/morning-rehearsal-chicago-theater-57-87513 Peter Pan's Matt Hawkins takes flight http://www.wbez.org/blog/city-room-blog/peter-pans-matt-hawkins-takes-flight <img typeof="foaf:Image" src="http://llnw.wbez.org/Hawkins_Headshot.jpeg" alt="" /><p><p><img alt="" src="http://llnw.wbez.org/blog/insert-image/2012-January/2012-01-10/Hawkins_Headshot.jpeg.jpg" style="margin-right: 10px; margin-top: 10px; margin-bottom: 10px; float: left; width: 320px; height: 209px; " title="">A word to the wise from Matt Hawkins: To fly, first suspend disbelief. With your rediscovered courage (or stupidity), push yourself. The movement director of Lookingglass Theatre’s “Peter Pan (A Play)” says he spent the show’s first two workshop days teaching the actors “to play, and play hard. That point when play turns dangerous—how far can you push that?”</p><p>“A three- or four-year-old—everyone wants to be a dragon or knight,” Hawkins says. “But by eight or nine, they want to be astronauts, cowboys, Indians. Imagination becomes smaller, and it can be hard to unlock the inner child. Early on, we asked all the actors to bring in a toy from home. First off, how many even HAVE a toy at home? Then we shared our toys and the stories behind them.”</p><p>“Peter Pan,” which <a href="http://www.lookingglasstheatre.org/content/box_office/peter_pan">Lookingglass</a> has extended through January 23, requires all the actors to throw themselves with a child’s fearlessness into the physical, whether it’s flying upside-down or leaping onto the Darling children’s communal bed. In the climactic scene, Peter Pan and Captain Hook—perched at the tops of scaffolds on wheels—get whirled around the space, swords flashing and crashing, by actor/stagehands pushing and turning in a truly head-spinning sequence.</p><p>Hawkins says this “moving obstacle course” was “extremely hard to choreograph, partly because we weren’t in the theater. The Lookingglass rehearsal space is in the John Hancock Building—an office building, right?!—and there’s no room! So I got a floor plan and had the scenic designer build me a little model of the space. Trying to figure out the traffic was hard, it’s not that big a stage! I was really worried. I didn’t know which cast member would push which scaffold. To get the actors up to speed before opening was really, really tough.”</p><p>The production, directed and adapted from J.M. Barrie’s books by Amanda Dehnert, is also loaded with physical comedy. “Physical comedians are born, I think,” says Hawkins. “We all know people with great comic timing, but that’s something you can’t teach.”</p><p>Hawkins, a founding member of the House Theatre of Chicago, has got a resumé a lot longer than your arm. He got into fight directing first at House, has taught clowning, and gave a <a href="http://theater.nytimes.com/2010/06/19/theater/reviews/19streetcar.html">critically acclaimed performance as Stanley Kowalski</a> in Writers’ Theatre’s “Streetcar Named Desire” this year. Though he says he’s “kinda sneaking in” his MFA at the University of Iowa (he’s almost done), he calls his ten years in Chicago “the best grad school.”</p><p>“Looking back, I moved from an actor to a fight director to clowning to directing,” he says. “But as a director it’s my job to keep up my other skills; it’s like a muscle.”</p><p>The constant in his career: fearlessness. “How do you teach someone to risk?” he asks. “With jobs, relationships, anything?”</p><p>“For me, there was a specific night and performance. 500 Clown was playing ‘Frankenstein’ and ‘Macbeth’ in rep at Steppenwolf [June 2007]. One Friday night Paul Kalina couldn’t be there, and I went on for him in ‘Frankenstein,’ playing the monster. I had a truly raw, emotional experience. When it came time to change the man into the monster, the other clown is beating me, and it’s real physical and emotional pain, it really hurts. I believed I was that person at that moment. Imagination is the key. It allows you to have a real emotional experience. But when the storytelling is over, the emotions are over. I learned I can do anything.”</p><p>“That night in ‘Frankenstein’—that’s what ‘Streetcar’ was for me every night. Being in ‘Frankenstein’ and ‘Streetcar’ were life-changing events.”</p></p> Thu, 09 Dec 2010 18:59:00 -0600 http://www.wbez.org/blog/city-room-blog/peter-pans-matt-hawkins-takes-flight