LETTERS TO THE EDITOR

Ted Evanoff ’s column May 6 (”Richard Smith is a sign of the changing of the guard”) was interesting for what it didn’t say. In the article, Mr. Smith is quoted as saying the Memphis economy has stalled and hasn’t grown in two decades. However, the column didn’t say what Mayor Strickland recently said on April 24 at his annual budget address. The mayor said, “Population loss remains our number one challenge and I believe that our tax rate, which is easily the highest in the state, is a reason why.”

The question becomes, with all of the great things happening in Memphis over the past 20 years such as the Redbirds, AutoZone park, the Grizzlies, FedExForum, Bass Pro, St. Jude expansion, ServiceMaster moving downtown, Crosstown Concourse, Overton Square revitalization, Copper-Young growth and South Main development, why is our city losing population?

The Commercial Appeal reported during MLK50 that the Memphis poverty rate is one of the worst in the U.S., growing from 20 percent in 1965 to 27 percent today. It seems that with Memphis’ poor schools, high poverty and high crime, we are between a rock and a hard place. As the mayor states, raise taxes and more of the middle-class leave. However, don’t raise taxes and city services suffer. Many of the people left to pay the highest tax rate in the state can’t pay because of the high poverty rate. Why does Memphis continue to have a population drain? Good luck, Mr. Smith.

Bill Wilson, Memphis

Support your local theater

As a fan of live theater and of Anton Chekov’s stories and plays, I must share one of the highlights of my visit to Memphis — a performance of “That Stupid F##ing Bird” at the Circuit Playhouse. A rewrite of Chekov’s classic “The Seagull,” this is no ordinary update. Playwright Aaron Posner’s faithful if fanciful adaptation puts the Russian author’s musings on the meaning of art and life square in 21st-century America with sharp, ironic relevance.

The script and the performance of this classically bittersweet tragicomedy had the audience laughing and thinking in quick turn. I certainly was doing both, thanks to marvelous performances by the cast that flipped between the twin masks of the dramatic art with the ease of a beating wing — one of the toughest challenges of the stage.

If this production and what I must assume was its stellar direction are a representative sample of the usual fare at the Playhouse, Memphis is fortunate to have such a gem. This is one somewhat expensive ticket that is clearly worth the price. So I’d encourage locals to support this troupe by filling the seats for remaining performances.

Where are you, Memphis? I was here. (You’ll understand when you see the play.)

Gina Fox, Nashville