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Selected Shorts
Guest host Michael Cerveris presents two stories in which a lot happens, but subtly. The narrator of A.M. Homes’ “Yours Truly” is “hiding in the linen closet” on a journey of self-discovery. The reader is Beth Malone. In Weike Wang’s “Omakase” a couple’s special sushi dinner proves unexpectedly revealing. The reader is Jennifer Lim.
ACTORS & ARTISTS
Michael Cerveris is the two-time Tony Award and Grammy Award-winning Broadway star of Fun Home and Assassins. Additional Broadway credits include Sweeney Todd, The Who's Tommy, Evita, Titanic, LoveMusik, Cymbeline, Hedda Gabler, Sarah Ruhl's In the Next Room (or the vibrator play), and many others. His numerous oOff-Broadway credits include King Lear, Road Show, Nine Lives, and Nassim. On film and television he has been featured in Fringe, Treme, Madam Secretary, The Good Wife, The Mexican, Cirque Du Freak, The Tick, Gotham, Mosaic, Ant-Man and the Wasp, Elementary, Evil, The Plot Against America, and Billions. Cerveris also works as a musician, both solo and with his band, Loose Cattle. He can be seen in the forthcoming Julian Fellowes series The Gilded Age for HBOMax.
A. M. Homes is the author of the memoir The Mistress’s Daughter, the short story collections The Safety of Objects, Things You Should Know, and Days of Awe, and the novels Jack, In a County of Mothers, The End of Alice, Music for Torching, This Book Will Save Your Life, and May We Be Forgiven, winner of the Women’s Prize for Fiction. She is the recipient of numerous awards, including fellowships from the Guggenheim Foundation, the National Endowment for the Arts, NYFA, and The Cullman Center for Scholars and Writers at the NYPL. She has published fiction and essays in the New Yorker, Granta, Harper’s, McSweeney’s, One Story, The New York Times, and Vanity Fair, where she is a contributing editor. Homes teaches in the Creative Writing Program at Princeton.
Jennifer Lim made her Broadway debut starring in David Henry Hwang’s Chinglish, for which she earned a Theater World Award for Outstanding Broadway Debut, the IASNY Trophy for Excellence, and a Drama Desk nomination. Additional theater projects include Golden Child at the Signature Theatre; Cry, Trojans! with the Wooster Group; The Most Deserving; The Urban Retreat at the Public Theater; The World of Extreme Happiness at the Manhattan Theatre Club; Tumacho; Caught; Usual Girls with Roundabout Underground; and Fefu and Her Friends. Her film and television credits include Law & Order, The Good Wife, Elementary, Hell on Wheels, Instinct, Impossible Monsters, Jessica Jones, New Amsterdam, Prodigal Son, and High Maintenance.
Beth Malone was nominated for a 2015 Tony Award and Grammy for her game-changing role of Alison in Fun Home on Broadway. Additional stage credits include Ring of Fire and Angels in America on Broadway, and Bingo, The Marvelous Wonderettes, Nassim, and Pride Plays Off-Broadway. She can currently be seen in The Unsinkable Molly Brown with The Transport Group. On screen, she’s been featured in Hick, The Good Wife, BrainDead, Bull, The Comedian, Brittany Runs a Marathon, Bluff City Law, Law & Order: Special Victims Unit, The Baker and the Beauty, All Rise, and The God Committee. She is the author and star of the critically acclaimed one-woman show Beth Malone: So Far.
Weike Wang is the author of the novel Chemistry, which was honored with the 2018 PEN/Hemingway and John C. Zacharis awards. Her work has appeared in Glimmer Train, Kenyon Review, Ploughshares, Alaska Quarterly Review, Redivider, and The New Yorker, among other publications, and her fiction has been anthologized in The Best American Short Stories and The O. Henry Prize Stories. She is the recipient of the Whiting Award and a National Book Foundation 5 Under 35 Prize. Her latest novel Joan Is Okay will be published in January 2022.
CREDITS
Yours Truly by A.M. Homes, from The Safety of Objects (W.W. Norton, 1990). First appeared in Story. Copyright © 1990 by A.M. Homes. Used by permission of The Wylie Agency, LLC.
“Omakase” by Weike Wang. Copyright © 2018 by Weike Wang. First published in The New Yorker (June 2018), edited by the author. Used by permission of the author.
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