Experienced professional journalism

In Philadelphia, Lindsay writes culture, lifestyle and home & design articles for The Philadelphia Inquirer, while working in the press department at the Philadelphia Museum of Art.

Internationally, Lindsay applies her extensive knowledge about the sport of polo to contribute regular travel features to the U.K.-based magazine Polo Times.

experienced photojournalist

museum professional

freelance writer

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editor

Geocachers get around (Philadelphia Inquirer)

Posted Wed, 01/20/2010 - 10:09 by lindsay

By Lindsay J. Warner

For The Inquirer

They travel in packs, noses just inches away from GPS screens. Suddenly, "I found it!", one boy announces, grinning and peeling away from the group of a half dozen. The others intensify their focus. "Me too!", shouts another a moment later, until all six kids are crowded around a tree on Girard Avenue, pulling out from a knot a plastic screw-top bottle painted to resemble tree bark. It doesn't look like much from the outside, but everyone gathers around, eager to see what's inside.

This is geocaching (JEE-oh-cash-ing), a high-tech game played using coordinates and global positioning systems to find hidden "treasure." It's open to anyone - hiders or seekers - with a GPS and access to www.geocaching.com, where more than half a million registered users download and upload the coordinates of nearly 1 million hidden caches and relate their experiences from this worldwide scavenger hunt.

Although some adventures can take hours or even days, the contents inside the actual cache are rarely valuable - many times just a logbook and a small, worthless trinket.

Women building home-repair skills

Posted Fri, 12/04/2009 - 07:53 by lindsay

By Lindsay J. Warner

For The Inquirer

Nothing elicits squeals of delight like a power tool, says do-it-yourselfer Shelly Halloran.

As program director for the Philadelphia branch of Habitat for Humanity, Halloran frequently witnesses the excitement that accompanies someone's first attempt at correctly pounding home a nail or using a screw gun - doubled in intensity when the builder is female.

Women Build, an international program offered through Habitat for Humanity, encourages women to get involved in construction work by providing basic hands-on training and organizing women-specific job sites.

In Philadelphia, an active female volunteer force prompted the initiation of a twice-yearly, hands-on construction course in 2007, designed to introduce women to power tools, drywall, flooring and roofing techniques, and basic home-repair skills. Lauren Mariani, a carpenter with Mariani Carpentry L.L.C. and a former AmeriCorps volunteer with Habitat, developed the course, which next will be offered Feb. 20 to March 13 at the Habitat warehouse near 19th and West Berks Streets.

Seasoned Choreography on Young Shoulders

Posted Mon, 11/23/2009 - 22:31 by lindsay

Movement trumped emotion in BalletX's November program at the Wilma Theater, featuring three world premieres that frequently relied on pace, rather than interpretation to transmit.

With all-star choreographer Matthew Neenan (co-artistic director with Christine Cox) providing consistent works supplemented by guest choreographers of note, BalletX programs have become known for their edgy playfulness, danced by some of the city's ballet veterans. The November program however, hosted a cast of new faces, many of whom have not gone through the traditional rite of passage of Pennsylvania Ballet corps dancing. The new lineup featured the kind of quick, athletic energy that was suited to technical pieces; missing however, was the grace accrued through seasons of performances.

Meredith Rainey, whose own long, sleek lines are as familiar as Neenan's quirky flexed-foot stylings, experimented with androgyny in his ocean-wave inspired "They Break," with floating costumes designed by Martha Chamberlain that purposefully disguised male from female. By eliminating gender, the dancers were able to mirror each other's moves without regard to traditional roles, and some of the best segments in "They Break" occurred in the bold, daring leaps executed. Rainey favored strong, reactive lines which sometimes descended into domino-like chaos, counteracted with facial expressions that were blank to the point of being belligerent.

Polo: No Princes or Ponies (Philadelphia Inquirer)

Posted Wed, 09/16/2009 - 08:07 by lindsay

Dubbed "The Game of Kings" in sixth-century Persia, polo still conjures visions of manicured lawns, tight white breeches, and rows of gleaming horses.

Not so at a grubby little roller-hockey rink at Front Street and Washington Avenue.

"3-2-1-GO!" a voice bellows from the sidelines, and six polo players fly toward center court, racing to gain possession of the ball. Two players reach the center at the same time, scrabbling for control. A third player joins the fray, steals the ball, is catapulted through the air, and lands on the ground, mallet still in hand.

But in this game, nobody goes to catch the horse. The fallen player dusts himself off, collects his "steed" - a retrofitted, beat-up Schwinn - and pedals back into the game. This is hardcourt bike polo, and there's no time for licking wounds.

Or for extraneous rules. Although the game is a combination of equestrian polo and grass polo - a dignified, centuries-old bicycle game that even had a cameo appearance in the 1908 London Olympics - hardcourt functions on the less-is-more philosophy. The game's official origins can be traced back to about 1999 in Seattle, but details still are being ironed out.

"The game mutates with every new city it hits," said Peter Dalkner, 32, a mechanic at Trophy Bikes on Walnut Street. "Everyone brings a slightly different set of rules about game length, court surfaces, and regulations to the game, and they all meet somewhere in the middle. Usually."

Totes Hold Their Own As Art (Philadelphia Inquirer)

Posted Wed, 07/22/2009 - 01:00 by lindsay

The routine used to be mindless - "Paper or plastic?" - as much a part of the shopping ritual as endless check-out lines and squeaky grocery carts.

Now you're more likely to hear "Did you bring your own bag?", often prompting an embarrassed look and a mumbled, "Must've left it in the car."

While shoppers are queried by cashiers and City Council hashes out a possible plastic-bag ban, one group is poised to capitalize on the public's growing conscience - reusable bag makers.

Read more

Centuries Later, Still 'Spring Awakening'

Posted Fri, 06/26/2009 - 07:22 by lindsay

    Dressed in neon lights and with jagged, contemporary choreography transporting its characters across the stage, Spring Awakening's shock value is wrapped in hipness and shrouded with casual cool. In 1891 when author Frank Wedekind's novel first appeared though, the story was banned by adults who feared it would taint their children's innocent young minds. The irony was evident even then, but more than a century later, Spring Awakening is even more of a poignant — and important — reminder that those whom we wish to protect with ignorance are usually the ones who are most in need of education.

Polo Times photography

Posted Mon, 06/08/2009 - 19:32 by lindsay

'The Bulletin' Prints Its Last Paper

Posted Wed, 06/03/2009 - 07:51 by lindsay

On June 1, The Bulletin newspaper, where I spent over two years as Arts & Culture Editor, printed its last newspaper. Although no one could pretend to be surprised — late checks, unpaid freelancers, minimal advertising and visits from the PNC finance manager portended the eventual closing — the news still came as a shock. The publisher called an unexpected meeting at around 4:15 p.m., read a few sentences of a prepared statement, then proceeded to tell the staff that June 1 was their last paper. No “goodbye and good luck” issue, nothing. They were to pack up their desks and go home.
    For most, going home meant going to the local bar around the corner, where I met my former co-workers — having taken a job at the Philadelphia Museum of Art just one month ago — for drinks one last time. Everyone was several rounds in by the time I arrived, and feeling little pain as they downed drinks, talked to reporters from rival newspapers around town — the Philadelphia Inquirer broke the news — and commiserated.

Actresses Without A Stage, On Stage In 'Grey Gardens'

Posted Fri, 05/29/2009 - 01:00 by lindsay

The real-life character of Edith Bouvier Beale is too often faulted for the disgrace of the Beale family estate, and of her own daughter, Edie. 
    “You have become that most pitiable of creatures: an actress without a stage,” says Major Bouvier to Edith, castigating his daughter for their dysfunctional family dynamics. Yet one can argue that the blatant disregard shown by Edith’s father and by Edith’s absent husband toward her talent and character is the true cause for blame in the musical Grey Gardens, on stage at the Suzanne Roberts Theatre through June 28.
    The infamous story of the Beales, originally immortalized in the 1975 documentary by Albert and David Maysles, is told here with an expanded ticket of songs performed by two of the most tragic divas to have ever graced the high-society circles of New York.  
    The true story of Edith Bouvier Beale and her daughter, Edie, aunt and cousin to Jackie Bouvier Kennedy and keepers of the immense mansion Grey Gardens, is recited in whispers: Two formerly wealthy Kennedy relatives end up the sole occupants of a dilapidated, filthy mansion unfit for habitation, carrying on in a manner that suggests mental instability and possible insanity. The newspapers were relentless when the Board of Health discovered them in 1973, house-bound and living amid a sea of feral cats, opossums, raccoons and cans of cat food piled 5 feet high.

'Tulpan': Coming of Age on the Steppes

Posted Fri, 05/22/2009 - 20:28 by lindsay

    Numerous minor tornadoes whirl across the steppe in director Sergei Dvortsevoy's Kahzak-language film “Tulpan,” but no one seems to care. The wind, the tornadoes and the general squalor of life for a rural nomadic sheepherder in Kazakhstan is completely taken for granted, buried in the daily routine of eking out a living.    The average viewer, on the other hand, is more likely to be taken aback, but Mr. Dvortsevoy's film casually refuses to accept or even acknowledge its foreignness, which gives “Tulpan” a warm, natural feel that colors the mundane, sometimes disturbing reality on the steppe. It's unlikely that many viewers would enter into “Tulpan” with a rosy-hued vision of Kazakhstan, but the film gives us all of the unpleasant realities of nomadic life — constant blowing sand, filthy clothes, rotted teeth and cantankerous animals — while also giving us rare glimpses of the triumphs too, like the dramatic on-screen birth of a lamb that represents the film's highest dramatic peak.