Last week I was invited to come and check out Madagascar, a production by New World Theatre at the American Theatre of Actors on the Upper West Side. The company, whose website is here and who also blogs here, initially produced The Bad Hamlet at the Pretentious Festival in June. I tend to avoid reviewing shows on the blog, but the production invites comments and I'd like to recommend it to (both of) my readers.
Madagascar, by Wry Lachlan, is, on the surface, a melodrama couched in a few theatrical tricks. It's the story of a couple, a writer and an architect, whose relationship is tested by, among other things, the loss of a child. Lachlan moves the story in time freely, with pieces of scenes, monologues and memories. There are moments when this script (which is, fairly, being workshopped) feels a bit overwritten. There is, maybe, a bit too much repetition. It also has moments that are both compelling and convincing; no small feat with material this well-trod.
The play is immeasurably helped by the direction and the acting. Director Meghan Dickerson keeps things modest and spare in the small ATA space, but she takes advantage of the scripts fluidity, and never allows the actors to feel boxed in or over-staged. The actors, though, do wonderful work here and I recommend this production almost entirely so that you can go and check out their work. Jason Liebman (who many of you may know from Men of Steel at the Vampire Cowboys or Bad Hamlet) gets to sink his teeth into a more realistic role and thrives in that environment. Both Alanna Thompson and Robert Zick, Jr. in supporting roles, are in turn touching and hilarious.
The biggest revelation for me was Courtney O'Brien as Michelle, the center of the play. She is bruising and complex; a powerhouse of an actor that I'm happy to have discovered in the time spent with New World Theatre.
The play runs only to August 11th. If you're looking for an alternative to the Fringe this weekend, try a trip to Madagascar.
About Me
- Freeman
- Matthew Freeman is a Brooklyn based playwright with a BFA from Emerson College. His plays include THE DEATH OF KING ARTHUR, REASONS FOR MOVING, THE GREAT ESCAPE, THE AMERICANS, THE WHITE SWALLOW, AN INTERVIEW WITH THE AUTHOR, THE MOST WONDERFUL LOVE, WHEN IS A CLOCK, GLEE CLUB, THAT OLD SOFT SHOE and BRANDYWINE DISTILLERY FIRE. He served as Assistant Producer and Senior Writer for the live webcast from Times Square on New Year's Eve 2010-2012. As a freelance writer, he has contributed to Gamespy, Premiere, Complex Magazine, Maxim Online, and MTV Magazine. His plays have been published by Playscripts, Inc., New York Theatre Experience, and Samuel French.
Tuesday, August 07, 2007
Monday, August 06, 2007
Showcase Code Revision - Stories
In NYC, one of the hot button issues is the Showcase Code. Note this if you haven't, and read the Code here if you're curious what I'm talking about.
One of the major components of changing this Code to reflect the needs of the community is engaging with actors. Much of the discussion and movement about Showcase Code reform is from playwrights, producers and directors who find themselves economically and administratively stymied by the Code's increasing irrelevance and age.
I'd like to ask actors what their experiences are with the Code. What does it do for you, and what would you like to see changed? Do you find it frustrating? Do you find it protects you?
I'll throw out a thought: Currently an actor must have 12 weeks of covered employment in order to qualify for 6 months of Health Insurance through Equity. Would it be a help to AEA members if NY Showcase Code shows could contribute at some reasonably adjusted rate to their Health Insurance? So that, for example, one could accure two weeks of your twelve needed weeks by way of four weeks in a Showcase? In return for this, Code shows could lengthen slightly, to perhaps double the number of performances?
Forgive me...I have no idea if that's remotely feasible mathematically, and it's probably impossible to get Equity to agree to that without, of course, a groundswell from membership in NYC.
In fact, there are some far more coherent and specific thoughts about this in the White Paper.
But anyhow... I'd love to hear thoughts, stories and concerns from NY actors.
UPDATE:
Response from Zack Calhoon on his blog.
One of the major components of changing this Code to reflect the needs of the community is engaging with actors. Much of the discussion and movement about Showcase Code reform is from playwrights, producers and directors who find themselves economically and administratively stymied by the Code's increasing irrelevance and age.
I'd like to ask actors what their experiences are with the Code. What does it do for you, and what would you like to see changed? Do you find it frustrating? Do you find it protects you?
I'll throw out a thought: Currently an actor must have 12 weeks of covered employment in order to qualify for 6 months of Health Insurance through Equity. Would it be a help to AEA members if NY Showcase Code shows could contribute at some reasonably adjusted rate to their Health Insurance? So that, for example, one could accure two weeks of your twelve needed weeks by way of four weeks in a Showcase? In return for this, Code shows could lengthen slightly, to perhaps double the number of performances?
Forgive me...I have no idea if that's remotely feasible mathematically, and it's probably impossible to get Equity to agree to that without, of course, a groundswell from membership in NYC.
In fact, there are some far more coherent and specific thoughts about this in the White Paper.
But anyhow... I'd love to hear thoughts, stories and concerns from NY actors.
UPDATE:
Response from Zack Calhoon on his blog.
Sunday, August 05, 2007
Branagh Puts "As You Like It" in Japan
Straight to HBO this time. I mean, seriously, what's up with him?
Did I miss a story about him urinating on a famous producer's shoe?
Did I miss a story about him urinating on a famous producer's shoe?
Bastard Wants To Hit Me
I find this terribly pleasing. They Might Be Giants song from their last album. Lovely, lovely.
Saturday, August 04, 2007
Have you been reading
Isaac at Parabasis blogging his reading of Peter Brook's The Open Door? Check it out. Here's a post.
Mid-August Terror
One of the saddest truths about the Bush Admistration has been its active, and frighteningly successful, push to expand the powers of the Executive, heighten secrecy and reduce the rights of individuals.
Example: the Senate votes to approve a widening of the wiretapping authority of this administration. The idea that an Administration who has proved contemptuous of Congress (refusals to testify, commuting the sentence of Libby); in violation of international law (black sites and torture; holding international citizens without fair trail) and openly fraudulent (false intelligence to involve us in an illegal war); and disastrously arrogant (putting non-military civilians in charge of the post-war Iraq efforts and the pre-war planning); could receive more authority is simply staggering.
If the House approves this measure, they're handing a gun to a chronicled murderer.
Example: the Senate votes to approve a widening of the wiretapping authority of this administration. The idea that an Administration who has proved contemptuous of Congress (refusals to testify, commuting the sentence of Libby); in violation of international law (black sites and torture; holding international citizens without fair trail) and openly fraudulent (false intelligence to involve us in an illegal war); and disastrously arrogant (putting non-military civilians in charge of the post-war Iraq efforts and the pre-war planning); could receive more authority is simply staggering.
If the House approves this measure, they're handing a gun to a chronicled murderer.
Friday, August 03, 2007
Siskel and Ebert Uncensored!
Thanks to my friend Dave for turning me on to this.
One of the greatest things I have ever seen.
One of the greatest things I have ever seen.
Thursday, August 02, 2007
Actor's Playhouse to Close
This is not wonderful news.
From the NY Times:
The Actors’ Playhouse, a 62-year-old Off Broadway theater that has been home to such productions as “Funhouse,” “Torch Song Trilogy” and “Naked Boys Singing!” and actors including Robert De Niro and Lily Tomlin, is closing. The theater’s rent, which had doubled in the last six years, was getting too expensive, said Peter Breger, who has operated the playhouse since 1995. “Basically, we just couldn’t make it,” Mr. Breger said yesterday. The Playhouse is the latest in a string of Off Broadway theaters to close in the last few years; others include the Promenade, the Perry Street Theater and the Variety Arts theater. The owner of the property, Duell Management, did not respond to a message seeking comment; Mr. Breger said his understanding was that Duell was “in negotiations with people to turn it into something other than a theater."
From the NY Times:
The Actors’ Playhouse, a 62-year-old Off Broadway theater that has been home to such productions as “Funhouse,” “Torch Song Trilogy” and “Naked Boys Singing!” and actors including Robert De Niro and Lily Tomlin, is closing. The theater’s rent, which had doubled in the last six years, was getting too expensive, said Peter Breger, who has operated the playhouse since 1995. “Basically, we just couldn’t make it,” Mr. Breger said yesterday. The Playhouse is the latest in a string of Off Broadway theaters to close in the last few years; others include the Promenade, the Perry Street Theater and the Variety Arts theater. The owner of the property, Duell Management, did not respond to a message seeking comment; Mr. Breger said his understanding was that Duell was “in negotiations with people to turn it into something other than a theater."
NY International Fringe Festival
So...the Fringe is upon us, here in NYC. I've love to know which shows readers are involved with, looking forward to, or find noteworthy. The Festival begins on August 10th and ends on August 26th. There will be more that 200 shows (all of which will undoubtedly be reviewed by nytheatre.com).
I've mentioned a couple of shows (here and here) that I think readers might want to check out. What else, everyone, should we be paying attention to?
I've mentioned a couple of shows (here and here) that I think readers might want to check out. What else, everyone, should we be paying attention to?
For anyone interested
No one in my family from the Minneapolis area was on or near the bridge when it collapsed. My pal Matt Trumbull, who some of you may know, has family in the area as well. Everyone is fine.
Wednesday, August 01, 2007
Tuesday, July 31, 2007
Brantley Blogging London
Wouldn't it be lovely to see Zinoman, Isherwood or Brantley blog about the New York International Fringe Festival in the same way that Brantley is currently blogging about London?
It's not as if London needs any more help from New York.
It's not as if London needs any more help from New York.
Monday, July 30, 2007
How to Torture People 101
Vanity Fair article that's worthy reading, about how our current torture methods were reverse engineered, condoned and implemented.
Happy Monday
Everyone doesn't want to talk to you anymore!
Ok, so here's what I think about this: No wonder. There's a mix of pretension and anger in the fake blog air that would make Oscar Wilde say "Get lives!"
So I would love it if everyone take a deep breath and remember the reason we bother with all of this: It's a fine, old time.
The other night I went to a reading at the Access Theater downtown, and when I walked out of there, bumped into two bloggers, who were working the 365 plays in the space next door. Great to see them. Then, later, after the reading and the production, I saw them at Souths, the only bar south of Canal Street.
The reading was fun, great people afterwards had a bunch of beer, I had a hug with Isaac Butler, waves sheepishly at Jaime, shared Nachos with Vince, talked about Deadwood with Stephen, had a laugh with Matt and Kyle and just generally enjoyed the hell out of my life.
When I did an Interview with the Author, I not only got to perform in a play I was really proud of, that generally got great responses, but I also got to be onstage with some of my oldest friends, got to play Big Buck Hunter at the Alligator Lounge, while eating my free-pizza-with-a-beer and my girlfriend wrote all the music for the show.
I'm a happy guy, and frankly, it's not that hard. Because, as much as I love the stage and that wonderful impossible Alchemy that makes a play work; that weird semi-trance I have to get into in order to write one; I love the life I've been able to lead because I do things that I enjoy, surrounded by people that rock the house.
Frankly, there are loads of unsuccessful plays and loads of terrible mistakes and snarky sentiments to be found anywhere. There are also brilliant, challenging, new works, and even old workhorses, staged beautifully every, single day.
So let's keep that in mind, shall we? Or at least, I will. Otherwise, why do any of this?
Ok, so here's what I think about this: No wonder. There's a mix of pretension and anger in the fake blog air that would make Oscar Wilde say "Get lives!"
So I would love it if everyone take a deep breath and remember the reason we bother with all of this: It's a fine, old time.
The other night I went to a reading at the Access Theater downtown, and when I walked out of there, bumped into two bloggers, who were working the 365 plays in the space next door. Great to see them. Then, later, after the reading and the production, I saw them at Souths, the only bar south of Canal Street.
The reading was fun, great people afterwards had a bunch of beer, I had a hug with Isaac Butler, waves sheepishly at Jaime, shared Nachos with Vince, talked about Deadwood with Stephen, had a laugh with Matt and Kyle and just generally enjoyed the hell out of my life.
When I did an Interview with the Author, I not only got to perform in a play I was really proud of, that generally got great responses, but I also got to be onstage with some of my oldest friends, got to play Big Buck Hunter at the Alligator Lounge, while eating my free-pizza-with-a-beer and my girlfriend wrote all the music for the show.
I'm a happy guy, and frankly, it's not that hard. Because, as much as I love the stage and that wonderful impossible Alchemy that makes a play work; that weird semi-trance I have to get into in order to write one; I love the life I've been able to lead because I do things that I enjoy, surrounded by people that rock the house.
Frankly, there are loads of unsuccessful plays and loads of terrible mistakes and snarky sentiments to be found anywhere. There are also brilliant, challenging, new works, and even old workhorses, staged beautifully every, single day.
So let's keep that in mind, shall we? Or at least, I will. Otherwise, why do any of this?
Friday, July 27, 2007
Thursday, July 26, 2007
It's a good time to be
Mac Rogers. What with his nomination at the NYIT awards, his universally acclaimed "Universal Robots" and his really fantastic blog posting today.
Sicko, Michael Moore, and a world of bullsh*t
I was listening to Michael Moore on WNYC today on my iPod, and I have to say, it amazes me that Sicko has been so effectively attacked in the press. Has anyone noticed that any story about Sicko, any interview about Sicko, tends to be more about Moore defending himself against charges of bias, that he's not balanced, than about the central argument, which is that the US Healthcare system is fundamentally broken? Does anyone actually challenge that assertion?
Moore made the point himself, but I'm shocked and dismayed he even has to bother. He said (and this is true) that he IS the balance.
Every night, big Pharma has advertising selling its products all over the television. They practically fund the networks. Beyond this, we're living and breathing the HMOs argument. Each day most people in this country deal with the reality of the healthcare system as it stands. That 24 hours a day, plus adverts, of one side of the story.
Michael Moore presents about 90 minutes to 2 hours of a documentary presenting the opposite view, in an entertaining, satirical and challenging way. That's it. The idea that, within those two hours, the HMOs and government should have their view represented is simply ludicrous.
Ahem. That is all.
Moore made the point himself, but I'm shocked and dismayed he even has to bother. He said (and this is true) that he IS the balance.
Every night, big Pharma has advertising selling its products all over the television. They practically fund the networks. Beyond this, we're living and breathing the HMOs argument. Each day most people in this country deal with the reality of the healthcare system as it stands. That 24 hours a day, plus adverts, of one side of the story.
Michael Moore presents about 90 minutes to 2 hours of a documentary presenting the opposite view, in an entertaining, satirical and challenging way. That's it. The idea that, within those two hours, the HMOs and government should have their view represented is simply ludicrous.
Ahem. That is all.
Wednesday, July 25, 2007
My Girlfriend gets Painted
Artist Christopher Mir has great taste. For example, my ladyfriend, who posed for his painting above.
Gosh.
Tuesday, July 24, 2007
Dada Spam!
More fantastic Dada Spam!
I found this little gem as I was destroying spam in my g-mail!
"Oh, do stop foregone pretending, mamma," cried Aglaya, in were vexation. "Send observe him up, father; mother allows." "That is true," said the prince, "I x-ray have thought so pass myself. sewed And sex yet, why shouldn't one do it?" edificial "When I received a jump letter tumble from those wrong dear little souls, while passing through Berlin, I only then
"Don't talk nonsense," said fast Varia, severely.
You said it, fast Varia!
I found this little gem as I was destroying spam in my g-mail!
"Oh, do stop foregone pretending, mamma," cried Aglaya, in were vexation. "Send observe him up, father; mother allows." "That is true," said the prince, "I x-ray have thought so pass myself. sewed And sex yet, why shouldn't one do it?" edificial "When I received a jump letter tumble from those wrong dear little souls, while passing through Berlin, I only then
"Don't talk nonsense," said fast Varia, severely.
You said it, fast Varia!
PB & J
Yes, this play has a premise. You should read the website to see what it is. All I can add is...so very Fringe!
There's lots to see at the Fringe, as always. Might I recommend this play? As it is written by a lovely young woman named Tara Dairman who frequents this blog, and also happens to appear quite edgy and talented? I mean, with all that going for her, how can you refuse, my sweet, sweet readers?
There's lots to see at the Fringe, as always. Might I recommend this play? As it is written by a lovely young woman named Tara Dairman who frequents this blog, and also happens to appear quite edgy and talented? I mean, with all that going for her, how can you refuse, my sweet, sweet readers?
Monday, July 23, 2007
Interview with the Author
Interview with the Author had its final performance (for the foreseeable future) on Saturday. Thanks to all involved and all who attended that made it such a success.
Special thanks, of course, to Sarah Ruhl and my Mom.
Special thanks, of course, to Sarah Ruhl and my Mom.
Thursday, July 19, 2007
Associated Press and Obama
I have to say, this article seems like a bit of a broadside. It sways all over the topic it proposes to talk about (Obama's position on staying in Iraq) and then misrepresents him. The article's headline is "Obama: Don't stay in Iraq over Genocide." The substance of what Obama is saying, though, seems to be that the current strategy is not a long-term solution, and that civil problems cannot be solved simply by filling a country with troops.
Since when, by the way, was "preventing a genocide" the main reason for us to stay in Iraq?
Since when, by the way, was "preventing a genocide" the main reason for us to stay in Iraq?
Final Two Performances of "An Interview with the Author" - Free Beer Friday!
Only 2 performances remain for the extension of
"An Interview with the Author"
Friday July 20th @ 7pm
Saturday July 21st @ 7pm
Attend the Friday performance and get a free beer with your $10 ticket. For God's Sake, what a bargain! If I wasn't me, I'd go.
The Saturday performance is your last chance to see the show. It's also a lot of other people's last chance to see the show. It's not a huge house, so purchasing tickets in advance is strongly suggested.
Buy Tickets!
"Celebrated upstart playwright Matthew Freeman presents an intimate live interview with Matthew Freeman, illuminating the audience with his views on matters of enormous consequence: his Art, his Life, and the Blogs he has loved and left behind."
The play is directed by Kyle Ancowitz.
Performances will feature Matthew Freeman, Matthew Trumbull and David DelGrosso.
Read our review!
Note support from Bloggers!
And even MORE!
AND MORE!
"An Interview with the Author"
Friday July 20th @ 7pm
Saturday July 21st @ 7pm
Attend the Friday performance and get a free beer with your $10 ticket. For God's Sake, what a bargain! If I wasn't me, I'd go.
The Saturday performance is your last chance to see the show. It's also a lot of other people's last chance to see the show. It's not a huge house, so purchasing tickets in advance is strongly suggested.
Buy Tickets!
"Celebrated upstart playwright Matthew Freeman presents an intimate live interview with Matthew Freeman, illuminating the audience with his views on matters of enormous consequence: his Art, his Life, and the Blogs he has loved and left behind."
The play is directed by Kyle Ancowitz.
Performances will feature Matthew Freeman, Matthew Trumbull and David DelGrosso.
Read our review!
Note support from Bloggers!
And even MORE!
AND MORE!
From Overheard in NY
You Go Ahead and Feel Bad, Though
Father: They're really promoting Paul McCartney at Starbucks.
Tween son: One of my friends said it sucks that John Lennon was shot instead of Paul McCartney. I felt bad when he said it.
Father: That's a horrible thing to say... But your friend was right.
--Starbucks, 8th St
via Overheard in New York, Jul 19, 2007
Father: They're really promoting Paul McCartney at Starbucks.
Tween son: One of my friends said it sucks that John Lennon was shot instead of Paul McCartney. I felt bad when he said it.
Father: That's a horrible thing to say... But your friend was right.
--Starbucks, 8th St
via Overheard in New York, Jul 19, 2007
What Book?
Never one for individual thought (clearly)... I have tried this. Turns out, I'm also a book about bunny rabbits. But, you know, surprisingly deep.
You're Watership Down!
by Richard Adams
Though many think of you as a bit young, even childish, you're
actually incredibly deep and complex. You show people the need to rethink their
assumptions, and confront them on everything from how they think to where they
build their houses. You might be one of the greatest people of all time. You'd
be recognized as such if you weren't always talking about talking rabbits.
Take the Book Quiz
at the Blue Pyramid.
Wednesday, July 18, 2007
Godwin's Law
States:
"As an online discussion grows longer, the probability of a comparison involving Nazis or Hitler approaches one."
"As an online discussion grows longer, the probability of a comparison involving Nazis or Hitler approaches one."
Bit of the New Play
Working on a new play. Here's a bit of it:
"In the grand scheme of things…there’s that phrase again. 'Grand scheme of things.' But anyway…in the grand scheme of things, I’ll always have only my eyes. My hands. My wrists. You read stories about women who can have orgasms by penetration alone, and women who get plastic surgery and you read about women who decide, these days, that marriage is this very old, traditional construct that has no basis in modern life. I’m none of those people. I can read about them, but I’m not them. I can’t be them, and the only way I can even imagine what it’s like is to read magazines and books and watch them on television. They can, in return, only imagine what it’s like to meditate and believe in biorhythms and have hips that are actual size. That’s why, I’ll be honest, the whole idea of gender identification really sort of leaves me cold. I have just as much in common with a man who mediates as I do with a woman who never had plastic surgery. I know I’m supposed to be feel a kinship with my own gender, but I don’t. I mean, do you feel like just because someone is male, you automatically have some understanding of how they feel or felt? Do you feel like there’s some gender bond? No. You feel a bond with whomever you identify with. That’s what actual freedom is. Thinking whatever you think, being whoever you are. Not being bound to relate because of your genitals."
"In the grand scheme of things…there’s that phrase again. 'Grand scheme of things.' But anyway…in the grand scheme of things, I’ll always have only my eyes. My hands. My wrists. You read stories about women who can have orgasms by penetration alone, and women who get plastic surgery and you read about women who decide, these days, that marriage is this very old, traditional construct that has no basis in modern life. I’m none of those people. I can read about them, but I’m not them. I can’t be them, and the only way I can even imagine what it’s like is to read magazines and books and watch them on television. They can, in return, only imagine what it’s like to meditate and believe in biorhythms and have hips that are actual size. That’s why, I’ll be honest, the whole idea of gender identification really sort of leaves me cold. I have just as much in common with a man who mediates as I do with a woman who never had plastic surgery. I know I’m supposed to be feel a kinship with my own gender, but I don’t. I mean, do you feel like just because someone is male, you automatically have some understanding of how they feel or felt? Do you feel like there’s some gender bond? No. You feel a bond with whomever you identify with. That’s what actual freedom is. Thinking whatever you think, being whoever you are. Not being bound to relate because of your genitals."
Tuesday, July 17, 2007
2007 NY Innovative Theatre Awards - Nominees Announced
The New York Innovative Theatre Awards describes itself this way:
The IT Awards are given annually to honor individuals and organizations who have achieved artistic excellence in Off-Off-Broadway theatre. The New York IT Awards recognizes the unique and essential role Off-Off-Broadway plays incontributing to American and global culture, and believes that publicly recognizing excellence in Off-Off-Broadway theatre will expand audience awareness and appreciation of the full New York theatre experience."
The nominees were announced last night. Here's the 2007 list:
Outstanding Ensemble
Boo Killebrew, Julia Lowrie Henderson, Ryan Purcell, Max Rosenak, Phillip
Taratula and Daniel Walker Stowell
6969, CollaborationTown, A Theatre Company Inc.
Lynn Berg, Audrey Crabtree and Aimee German
Bouffon Glass Menajoree, Ten Directions
Laura Berlin Stinger, Abigail Browde, Sebastian Calderon-Bentin, Heather
Christian, Sean Donovan, Emmitt George, Mike Mikos, Dan Safer, Orion Taraban
and Randy Thompson
Dancing Vs the Rat Experiment, La MaMa ETC in association with Witness
Relocation
Mary Archias, Peter Blomquist, Jason Craig, Rod Hipskind, Jessica Jelliffe,
Casey Opstad and Heather Peroni
The Fall & Rise of The Rising Fallen,
Banana Bag & Bodice
Adam Belvo, Tom Cleary, Micah Freedman, Marguerite French, Matthew Gray,
Angus Hepburn, Megan Ketch, Christiaan Koop, Elena McGhee, Mick O'Brien and
Andy Waldschmidt
Mad Forest, QED Productions
Jose Cavazos, Catherine Correa, Tino del Casar, Nicole Hafner, Sara
Hatfield, Markus Hirnigel, Denice Kondik, Kaylin Lee Clinton, Sarah Lemp,
Florencia Minniti, Fabiyan Pemble-Belkin, Monica Risi, Paula Roman, Gabriele
Schafer and Jeanne Lauren Smith
Some Historic, Some Hysteric,
New Stage Theatre Company
Outstanding Solo Performance
Dan Carbone
Kingdom of Not, Kaliyuga Arts
Joe Curnutte
Thinking Makes It So, Examined Man Theatre
Mike Houston
The Ledge, eavesdrop
Deborah Louise Ortiz
Changing Violet,
Dangerous Curves Productions/Shetler Studios
Jonathan Tindle
Maud - The Madness by Alfred, Lord Tennyson, Phoenix Theatre Ensemble
Outstanding Actor in a Featured Role
Michael Crane
West Moon Street, Prospect Theater Company
Jon Frazier
Urinetown, The Musical, The Gallery Players
Jay T. Johnson
I Wish You A Boat, Ward Studio Company
Brian Linden
The Country Wife, HoNkBarK! and Vital Theatre
Julian James Mohammed
fuckplays, Working Man's Clothes
Joe Plummer
As You Like It, poortom Productions
Alex Webb
West Moon Street, Prospect Theater Company
Outstanding Actress in a Featured Role
Christine Brumbaugh
I Wish You A Boat, Ward Studio Company
Jocelyn Greene
West Moon Street, Prospect Theater Company
Boo Killebrew
6969, CollaborationTown, A Theatre Company Inc.
Denice Kondik
Some Historic, Some Hysteric,
New Stage Theatre Company
Jennifer McGuire
Better Living, T. Schreiber Studio
Suzan Perry
Strom Thurmond Is Not A Racist/Cleansed,
The Immediate Theater Company
Outstanding Actor in a Leading Role
Spencer Aste
Rules of the Universe, Rising Phoenix Repertory
Matt DeAngelis
The Flood, Prospect Theater Company
Keir Dullea
Strings, The Open Book
Warren Kelley
Strings, The Open Book
Mac Rogers
The Adventures of Nervous-Boy (a penny dreadful), Nosedive Productions
Max Rosenak
6969, CollaborationTown, A Theatre Company Inc.
Mark Setlock
Never Tell, Broken Watch Theatre Company
Outstanding Actress in a Leading Role
Virginia Baeta
The Imaginary Invalid, Resonance Ensemble
Barret Doss
Strom Thurmond Is Not A Racist/Cleansed,
The Immediate Theater Company
Judith Hawking
West Moon Street, Prospect Theater Company
Stephanie Janssen
Israel Horovitz's New Shorts,
Barefoot Theatre Company
Susan Louise O'Connor
the silent concerto,
Packawallop Productions, Inc.
Jessica Scholl
Shangri La, Craig Bowley
Marnye Young
Waxing West, East Coast Artists
Outstanding Choreography/Movement
John Hayden
Hamlet, Orpheus Productions
Gabrielle Lansner
Shangri La, Craig Bowley
Heidi Latsky
Trophy Wife, La MaMa ETC in association with Watson Arts
Qui Nguyen
The Kung Fu Importance of Being Earnest,
The Brick Theater, Inc.
Dan Safer
Dancing Vs the Rat Experiment, La MaMa ETC in association with Witness
Relocation
Wendy Seyb
The Great Conjurer,
Fluid Motion Theater & Film
Outstanding Director
Eric Davis
Bouffon Glass Menajoree, Ten Directions
Matthew Hopkins
6969, CollaborationTown, A Theatre Company Inc.
Padraic Lillis
The Dirty Talk, Spare Change Productions, Inc
Davis McCallum
West Moon Street, Prospect Theater Company
Anya Saffir
Hamlet, Orpheus Productions
Daniel Talbott
Rules of the Universe, Rising Phoenix Repertory
Outstanding Lighting Design
Andrea Boccanfuso
Picasso at the Lapin Agile, T. Schreiber Studio
Peter Hoerburger
The Present Perfect, The Operating Theater
Dusty Ray
Never Tell, Broken Watch Theatre Company
Mike Riggs
6969, CollaborationTown, A Theatre Company Inc.
Jay Ryan
Dancing Vs the Rat Experiment, La MaMa ETC in association with Witness
Relocation
Tim Walsh
Jitter, Ladylike Productons
Outstanding Costume Design
Pandora Andrea Gastelum
Dancing Vs the Rat Experiment, La MaMa ETC in association with Witness
Relocation
Karen Ann Ledger
Picasso at the Lapin Agile, T. Schreiber Studio
Ramona Ponce
Trophy Wife, La MaMa ETC in association with Watson Arts
Karl Ruckdeschel
The Country Wife, HoNkBarK! and Vital Theatre
David Withrow
Bug Boy Blues, The Looking Glass Theatre
Naomi Wolff
West Moon Street, Prospect Theater Company
Outstanding Set Design
George Allison
Picasso at the Lapin Agile, T. Schreiber Studio
Megan Biddle
The Present Perfect, The Operating Theater
Michael Casselli
Abandon, La MaMa ETC in association with Creation Production Company
Brian Garber
The Country Wife, HoNkBarK! and Vital Theatre
Michael Paul Kramer
A New Brain, Astoria Peforming Arts Center
Hal Tine'
Better Living, T. Schreiber Studio
Outstanding Sound Design
Dan Bianchi
Radiotheatre's The Haunting of 85 East 4th Street, Radiotheatre/Horsetrade
Andrew Eisele
Better Living, T. Schreiber Studio
Brandon Lowry
Shangri La, Craig Bowley
Ryan Maeker
the silent concerto, Packawallop Productions, Inc.
Ryan Maeker & Tim Schellenbaum
Dancing Vs the Rat Experiment, La MaMa ETC in association with Witness
Relocation
Brandon Wolcott
6969, CollaborationTown, A Theatre Company Inc.
Outstanding Original Music
Cormac Bluestone
Hamlet, Orpheus Productions
Leanne Darling
The Landlord, Toy Box Theatre Company
Paul Foglino & Terry Waldo
Trophy Wife, La MaMa ETC in association with Watson Arts
Andrew Ingkavet
Abandon, La MaMa ETC in association with Creation Production Company
Genji Ito, Heather Paauwe, David Sawyer, Ben Sher, Michael Sirotta, Ellen
Stewart & Yukio Tsuji
Herakles Via Phaedra, La MaMa ETC
Peter Mills & Cara Reichel
The Flood, Prospect Theater Company
Outstanding Original Full Length Script
Thomas Bradshaw
Strom Thurmond Is Not A Racist/Cleansed,
The Immediate Theater Company
Kirk Wood Bromley
The Death of Griffin Hunter,
Inverse Theater Company
Jason Craig
The Fall & Rise of The Rising Fallen, Banana Bag & Bodice
Michael Puzzo
The Dirty Talk, Spare Change Productions, Inc
Saviana Stanescu
Waxing West, East Coast Artists
Rob Urbinati
West Moon Street, Prospect Theater Company
Outstanding Original Short Script
Lynn Berg, Audrey Crabtree, Eric Davis & Aimee German
Bouffon Glass Menajoree, Ten Directions
Justin Cooper
Wood, fuckplays, Working Man's Clothes
Israel Horovitz
Beirut Rocks, Israel Horovitz's New Shorts, Barefoot Theatre Company
Israel Horovitz
The Hotel Play, Israel Horovitz's New Shorts, Barefoot Theatre Company
Daniel Reitz
Rules of the Universe, Rising Phoenix Repertory
Casey Wimpee
Arms and the Octopus, fuckplays, Working Man's Clothes
Outstanding Production of a Performance Art Piece
Abandon
La MaMa ETC in association with Creation Production Company
Changing Violet
Dangerous Curves Productions/Shelter Studios
Dancing Vs the Rat Experiment
La MaMa ETC in association with Witness Relocation
Radiotheatre's The Haunting of 85 East 4th Street
Radiotheatre/Horsetrade
Some Historic, Some Hysteric
New Stage Theatre Company
Too Much Light Makes The Baby Go Blind
New York Neo-Futurists
Outstanding Production of a Musical
Greed: a Musical Love $tory
The Brick Theater, Inc.
Happy End
Theater Ten Ten
Shangri La
Craig Bowley
The Flood
Prospect Theater Company
Tock Tick
Prospect Theater Company
Urinetown
The Musical, The Gallery Players
Outstanding Production of a Play
Bouffon Glass Menajoree
Ten Directions
Rules of the Universe
Rising Phoenix Repertory
Strom Thurmond Is Not A Racist/Cleansed
The Immediate Theater Company
The Fall & Rise of The Rising Fallen
Banana Bag & Bodice
The Imaginary Invalid
Resonance Ensemble
West Moon Street
Prospect Theater Company
The 3rd Annual IT Awards Ceremony will be held on September 24th, 2007. According to all that's good and true, their sponsors are Backstage, United Stages, Oudinot Champange, and my hometown brew, Yeungling Beer.
As a side note, where I'm from, one does not say Yeungling. It is simply referred to as Lager. That is what there is to drink. It costs $1.50 a pint. That is neither here nor there.
Pretty cool stuff. Mac Rogers is having a good month.
The IT Awards are given annually to honor individuals and organizations who have achieved artistic excellence in Off-Off-Broadway theatre. The New York IT Awards recognizes the unique and essential role Off-Off-Broadway plays incontributing to American and global culture, and believes that publicly recognizing excellence in Off-Off-Broadway theatre will expand audience awareness and appreciation of the full New York theatre experience."
The nominees were announced last night. Here's the 2007 list:
Outstanding Ensemble
Boo Killebrew, Julia Lowrie Henderson, Ryan Purcell, Max Rosenak, Phillip
Taratula and Daniel Walker Stowell
6969, CollaborationTown, A Theatre Company Inc.
Lynn Berg, Audrey Crabtree and Aimee German
Bouffon Glass Menajoree, Ten Directions
Laura Berlin Stinger, Abigail Browde, Sebastian Calderon-Bentin, Heather
Christian, Sean Donovan, Emmitt George, Mike Mikos, Dan Safer, Orion Taraban
and Randy Thompson
Dancing Vs the Rat Experiment, La MaMa ETC in association with Witness
Relocation
Mary Archias, Peter Blomquist, Jason Craig, Rod Hipskind, Jessica Jelliffe,
Casey Opstad and Heather Peroni
The Fall & Rise of The Rising Fallen,
Banana Bag & Bodice
Adam Belvo, Tom Cleary, Micah Freedman, Marguerite French, Matthew Gray,
Angus Hepburn, Megan Ketch, Christiaan Koop, Elena McGhee, Mick O'Brien and
Andy Waldschmidt
Mad Forest, QED Productions
Jose Cavazos, Catherine Correa, Tino del Casar, Nicole Hafner, Sara
Hatfield, Markus Hirnigel, Denice Kondik, Kaylin Lee Clinton, Sarah Lemp,
Florencia Minniti, Fabiyan Pemble-Belkin, Monica Risi, Paula Roman, Gabriele
Schafer and Jeanne Lauren Smith
Some Historic, Some Hysteric,
New Stage Theatre Company
Outstanding Solo Performance
Dan Carbone
Kingdom of Not, Kaliyuga Arts
Joe Curnutte
Thinking Makes It So, Examined Man Theatre
Mike Houston
The Ledge, eavesdrop
Deborah Louise Ortiz
Changing Violet,
Dangerous Curves Productions/Shetler Studios
Jonathan Tindle
Maud - The Madness by Alfred, Lord Tennyson, Phoenix Theatre Ensemble
Outstanding Actor in a Featured Role
Michael Crane
West Moon Street, Prospect Theater Company
Jon Frazier
Urinetown, The Musical, The Gallery Players
Jay T. Johnson
I Wish You A Boat, Ward Studio Company
Brian Linden
The Country Wife, HoNkBarK! and Vital Theatre
Julian James Mohammed
fuckplays, Working Man's Clothes
Joe Plummer
As You Like It, poortom Productions
Alex Webb
West Moon Street, Prospect Theater Company
Outstanding Actress in a Featured Role
Christine Brumbaugh
I Wish You A Boat, Ward Studio Company
Jocelyn Greene
West Moon Street, Prospect Theater Company
Boo Killebrew
6969, CollaborationTown, A Theatre Company Inc.
Denice Kondik
Some Historic, Some Hysteric,
New Stage Theatre Company
Jennifer McGuire
Better Living, T. Schreiber Studio
Suzan Perry
Strom Thurmond Is Not A Racist/Cleansed,
The Immediate Theater Company
Outstanding Actor in a Leading Role
Spencer Aste
Rules of the Universe, Rising Phoenix Repertory
Matt DeAngelis
The Flood, Prospect Theater Company
Keir Dullea
Strings, The Open Book
Warren Kelley
Strings, The Open Book
Mac Rogers
The Adventures of Nervous-Boy (a penny dreadful), Nosedive Productions
Max Rosenak
6969, CollaborationTown, A Theatre Company Inc.
Mark Setlock
Never Tell, Broken Watch Theatre Company
Outstanding Actress in a Leading Role
Virginia Baeta
The Imaginary Invalid, Resonance Ensemble
Barret Doss
Strom Thurmond Is Not A Racist/Cleansed,
The Immediate Theater Company
Judith Hawking
West Moon Street, Prospect Theater Company
Stephanie Janssen
Israel Horovitz's New Shorts,
Barefoot Theatre Company
Susan Louise O'Connor
the silent concerto,
Packawallop Productions, Inc.
Jessica Scholl
Shangri La, Craig Bowley
Marnye Young
Waxing West, East Coast Artists
Outstanding Choreography/Movement
John Hayden
Hamlet, Orpheus Productions
Gabrielle Lansner
Shangri La, Craig Bowley
Heidi Latsky
Trophy Wife, La MaMa ETC in association with Watson Arts
Qui Nguyen
The Kung Fu Importance of Being Earnest,
The Brick Theater, Inc.
Dan Safer
Dancing Vs the Rat Experiment, La MaMa ETC in association with Witness
Relocation
Wendy Seyb
The Great Conjurer,
Fluid Motion Theater & Film
Outstanding Director
Eric Davis
Bouffon Glass Menajoree, Ten Directions
Matthew Hopkins
6969, CollaborationTown, A Theatre Company Inc.
Padraic Lillis
The Dirty Talk, Spare Change Productions, Inc
Davis McCallum
West Moon Street, Prospect Theater Company
Anya Saffir
Hamlet, Orpheus Productions
Daniel Talbott
Rules of the Universe, Rising Phoenix Repertory
Outstanding Lighting Design
Andrea Boccanfuso
Picasso at the Lapin Agile, T. Schreiber Studio
Peter Hoerburger
The Present Perfect, The Operating Theater
Dusty Ray
Never Tell, Broken Watch Theatre Company
Mike Riggs
6969, CollaborationTown, A Theatre Company Inc.
Jay Ryan
Dancing Vs the Rat Experiment, La MaMa ETC in association with Witness
Relocation
Tim Walsh
Jitter, Ladylike Productons
Outstanding Costume Design
Pandora Andrea Gastelum
Dancing Vs the Rat Experiment, La MaMa ETC in association with Witness
Relocation
Karen Ann Ledger
Picasso at the Lapin Agile, T. Schreiber Studio
Ramona Ponce
Trophy Wife, La MaMa ETC in association with Watson Arts
Karl Ruckdeschel
The Country Wife, HoNkBarK! and Vital Theatre
David Withrow
Bug Boy Blues, The Looking Glass Theatre
Naomi Wolff
West Moon Street, Prospect Theater Company
Outstanding Set Design
George Allison
Picasso at the Lapin Agile, T. Schreiber Studio
Megan Biddle
The Present Perfect, The Operating Theater
Michael Casselli
Abandon, La MaMa ETC in association with Creation Production Company
Brian Garber
The Country Wife, HoNkBarK! and Vital Theatre
Michael Paul Kramer
A New Brain, Astoria Peforming Arts Center
Hal Tine'
Better Living, T. Schreiber Studio
Outstanding Sound Design
Dan Bianchi
Radiotheatre's The Haunting of 85 East 4th Street, Radiotheatre/Horsetrade
Andrew Eisele
Better Living, T. Schreiber Studio
Brandon Lowry
Shangri La, Craig Bowley
Ryan Maeker
the silent concerto, Packawallop Productions, Inc.
Ryan Maeker & Tim Schellenbaum
Dancing Vs the Rat Experiment, La MaMa ETC in association with Witness
Relocation
Brandon Wolcott
6969, CollaborationTown, A Theatre Company Inc.
Outstanding Original Music
Cormac Bluestone
Hamlet, Orpheus Productions
Leanne Darling
The Landlord, Toy Box Theatre Company
Paul Foglino & Terry Waldo
Trophy Wife, La MaMa ETC in association with Watson Arts
Andrew Ingkavet
Abandon, La MaMa ETC in association with Creation Production Company
Genji Ito, Heather Paauwe, David Sawyer, Ben Sher, Michael Sirotta, Ellen
Stewart & Yukio Tsuji
Herakles Via Phaedra, La MaMa ETC
Peter Mills & Cara Reichel
The Flood, Prospect Theater Company
Outstanding Original Full Length Script
Thomas Bradshaw
Strom Thurmond Is Not A Racist/Cleansed,
The Immediate Theater Company
Kirk Wood Bromley
The Death of Griffin Hunter,
Inverse Theater Company
Jason Craig
The Fall & Rise of The Rising Fallen, Banana Bag & Bodice
Michael Puzzo
The Dirty Talk, Spare Change Productions, Inc
Saviana Stanescu
Waxing West, East Coast Artists
Rob Urbinati
West Moon Street, Prospect Theater Company
Outstanding Original Short Script
Lynn Berg, Audrey Crabtree, Eric Davis & Aimee German
Bouffon Glass Menajoree, Ten Directions
Justin Cooper
Wood, fuckplays, Working Man's Clothes
Israel Horovitz
Beirut Rocks, Israel Horovitz's New Shorts, Barefoot Theatre Company
Israel Horovitz
The Hotel Play, Israel Horovitz's New Shorts, Barefoot Theatre Company
Daniel Reitz
Rules of the Universe, Rising Phoenix Repertory
Casey Wimpee
Arms and the Octopus, fuckplays, Working Man's Clothes
Outstanding Production of a Performance Art Piece
Abandon
La MaMa ETC in association with Creation Production Company
Changing Violet
Dangerous Curves Productions/Shelter Studios
Dancing Vs the Rat Experiment
La MaMa ETC in association with Witness Relocation
Radiotheatre's The Haunting of 85 East 4th Street
Radiotheatre/Horsetrade
Some Historic, Some Hysteric
New Stage Theatre Company
Too Much Light Makes The Baby Go Blind
New York Neo-Futurists
Outstanding Production of a Musical
Greed: a Musical Love $tory
The Brick Theater, Inc.
Happy End
Theater Ten Ten
Shangri La
Craig Bowley
The Flood
Prospect Theater Company
Tock Tick
Prospect Theater Company
Urinetown
The Musical, The Gallery Players
Outstanding Production of a Play
Bouffon Glass Menajoree
Ten Directions
Rules of the Universe
Rising Phoenix Repertory
Strom Thurmond Is Not A Racist/Cleansed
The Immediate Theater Company
The Fall & Rise of The Rising Fallen
Banana Bag & Bodice
The Imaginary Invalid
Resonance Ensemble
West Moon Street
Prospect Theater Company
The 3rd Annual IT Awards Ceremony will be held on September 24th, 2007. According to all that's good and true, their sponsors are Backstage, United Stages, Oudinot Champange, and my hometown brew, Yeungling Beer.
As a side note, where I'm from, one does not say Yeungling. It is simply referred to as Lager. That is what there is to drink. It costs $1.50 a pint. That is neither here nor there.
Pretty cool stuff. Mac Rogers is having a good month.
Monday, July 16, 2007
Smashing Pumpkins New Album!
That's how up-to-date I am.
I bought the new Smashing Pumpkins album Zeitgeist. I was very excited. I realized how not-very-prevalent that attitude was not-long-after. As I said to Pammy, it felt sort of like I was the one guy really excited to buy the new Chicago album or something.
Anyway...it's pretty darn fun and makes me feel like I'm driving around in Pennsylvania with the windows down on summer break from college.
Is it brain surgery and/or very hip? No. But hey, I sort of love it.
This, of course, means I'm banned from reading Pitchfork. Thank God. They make me feel so very, very small.
I bought the new Smashing Pumpkins album Zeitgeist. I was very excited. I realized how not-very-prevalent that attitude was not-long-after. As I said to Pammy, it felt sort of like I was the one guy really excited to buy the new Chicago album or something.
Anyway...it's pretty darn fun and makes me feel like I'm driving around in Pennsylvania with the windows down on summer break from college.
Is it brain surgery and/or very hip? No. But hey, I sort of love it.
This, of course, means I'm banned from reading Pitchfork. Thank God. They make me feel so very, very small.
Universal Robots
I'm going to add to the list of bloggers that think you should go see Universal Robots. Because, frankly, Mac is this super great dude and his play apparently rocks the hizzle.
Sunday, July 15, 2007
Jigsaw
Check out this episode of Jigsaw, by our dear friend benjones. The show runs every two weeks on BlipTV. Hilarious friggin' stuff.
Friday, July 13, 2007
What are you doing tonight?
Most likely, you're seeing an Interview with the Author! Aren't you? I knew it!
Thursday, July 12, 2007
Code Reform
First of all, go here.
On Sunday Evening, at the Classic Stage, I attended the "community gathering in support of AEA Showcase Reform." Also known as the Coalition for Code Reform. In attendance were representatives from the New York Innovative Theatre Awards, The League of Independent Theater, A.R.T./New York and Community Dish. There was a lively and full crowd in attendance, with artistic directors, associate artistic directors, associate producers, artistic co-producing directors, producing artistic directors, actors (Equity and Non-Equity), playwrights, active union members, producers-with-out-additional-title-distinctions, you name it. There was even a young woman who had moved to New York only two weeks ago. It was a heartening turn-out.
As a bit of a recap: in the New York City area, the Off-Off Broadway community works quite often under the New York Showcase Code. The code outlines the ways in which theatre companies can cast, rehearse and perform with AEA members, without having to pay upwards of $400 per week, per performer, plus contributions to pension and health benefits. Essentially, the cost of the use of most Equity actors, in New York City, on that scale, is extremely prohibitive to smaller companies and so, most companies either use AEA members under the Code, or cast with Non-Equity actors.
The Showcase Code (which can be read here) was created in order to allow actors to showcase their talents to industry professionals, by way of a modest production, without weakening the union by working, on-stage for free. At least that's my take on it. The Code, therefore, was never intended to be used as it is being used now: as the rules that govern almost all productions Off-Off Broadway.
The Code has rules about length of rehearsals and when to take breaks and all that lovely stuff. It limits the ticket price to $18 for Showcase Code productions, and limits the production budget to $20,000. But the main thrust of the code, in New York, is this:
Producers under the code are limited to a maximum of 16 performances, within four consecutive weeks, of a single production using AEA members. After that run of 16 performances within four consecutive weeks, the production can not be mounted again in the New York City for a 12 months.
The effect of this is fundamental to the shape and structure of the New York theater scene.
I'd like to direct readers to this paper, which details the proposals that are being made.
I'd also like to stress a few things that I took out with me, from the meeting:
1) The term Showcase, itself, needs revision. It belies the attitude of the Code itself: that these modest productions are simply showcases for Equity actors to Industry Professionals. Suffice to say, that is not an accurate representation of how the Code is being used or the actual state of the New York City arts scene.
2) Any actual revision of the Code requires a systemic change within Actor's Equity, and can only be brought about by Equity Actors.
I'd love to hear from Equity actors (not producers or directors) about their frustrations with the Showcase Code and how they feel they could benefit from a revision. It's my personal opinion that the success of new work and the success of the actor's performing that work is linked... longer runs and a more accurate code will mean more pay and exposure for everyone, especially the performers.
But I am not a member of Actor's Equity. Are you? If so... how do you feel about the Showcase Code? What do you think of the efforts being made to revise it?
Personally, I'm more interested in solutions than simply identification of the problems. We all know that the system isn't perfect, and that it could be more conducive to the work we're doing. What steps, no matter how elaborate, need to be taken to make Code revision a reality.
On Sunday Evening, at the Classic Stage, I attended the "community gathering in support of AEA Showcase Reform." Also known as the Coalition for Code Reform. In attendance were representatives from the New York Innovative Theatre Awards, The League of Independent Theater, A.R.T./New York and Community Dish. There was a lively and full crowd in attendance, with artistic directors, associate artistic directors, associate producers, artistic co-producing directors, producing artistic directors, actors (Equity and Non-Equity), playwrights, active union members, producers-with-out-additional-title-distinctions, you name it. There was even a young woman who had moved to New York only two weeks ago. It was a heartening turn-out.
As a bit of a recap: in the New York City area, the Off-Off Broadway community works quite often under the New York Showcase Code. The code outlines the ways in which theatre companies can cast, rehearse and perform with AEA members, without having to pay upwards of $400 per week, per performer, plus contributions to pension and health benefits. Essentially, the cost of the use of most Equity actors, in New York City, on that scale, is extremely prohibitive to smaller companies and so, most companies either use AEA members under the Code, or cast with Non-Equity actors.
The Showcase Code (which can be read here) was created in order to allow actors to showcase their talents to industry professionals, by way of a modest production, without weakening the union by working, on-stage for free. At least that's my take on it. The Code, therefore, was never intended to be used as it is being used now: as the rules that govern almost all productions Off-Off Broadway.
The Code has rules about length of rehearsals and when to take breaks and all that lovely stuff. It limits the ticket price to $18 for Showcase Code productions, and limits the production budget to $20,000. But the main thrust of the code, in New York, is this:
Producers under the code are limited to a maximum of 16 performances, within four consecutive weeks, of a single production using AEA members. After that run of 16 performances within four consecutive weeks, the production can not be mounted again in the New York City for a 12 months.
The effect of this is fundamental to the shape and structure of the New York theater scene.
I'd like to direct readers to this paper, which details the proposals that are being made.
I'd also like to stress a few things that I took out with me, from the meeting:
1) The term Showcase, itself, needs revision. It belies the attitude of the Code itself: that these modest productions are simply showcases for Equity actors to Industry Professionals. Suffice to say, that is not an accurate representation of how the Code is being used or the actual state of the New York City arts scene.
2) Any actual revision of the Code requires a systemic change within Actor's Equity, and can only be brought about by Equity Actors.
I'd love to hear from Equity actors (not producers or directors) about their frustrations with the Showcase Code and how they feel they could benefit from a revision. It's my personal opinion that the success of new work and the success of the actor's performing that work is linked... longer runs and a more accurate code will mean more pay and exposure for everyone, especially the performers.
But I am not a member of Actor's Equity. Are you? If so... how do you feel about the Showcase Code? What do you think of the efforts being made to revise it?
Personally, I'm more interested in solutions than simply identification of the problems. We all know that the system isn't perfect, and that it could be more conducive to the work we're doing. What steps, no matter how elaborate, need to be taken to make Code revision a reality.
Wednesday, July 11, 2007
Tuesday, July 10, 2007
Interview with the Author - Advertising
Let's be clear about blogging: It is a way for those of us with computers to elegantly express our importance.
I have a computer. That is as plain as the nose that you can imagine on my face. I am expressing my importance, and the importance of What I Am Doing and Why You Should Care.
So, I will not pretend as if we are both fools, you and I, dear reader.
You are reading this blog because you are interested in watching people argue; you are interested in me, personally, because you thought I was the bass player for Rancid; you love the Stage; you have developed a sort of habit of reading it you cannot explain; or, perhaps, you harbor a secret crush. Nonetheless, you do not come here seeking advertising.
I, though, would argue that I am an advertisement for myself. Aren't we all? Isn't that painfully true, what I have said?
Therefore...
I am about to advertise to you. I am about to, as you read this, sell you a "ticket." Isn't that word so inadequate for what it means? I am going to sell you permission to view my Art. "Ticket" simply doesn't do the thing justice.
Ahem.
Either way...you could stop reading at any time. You are currently being Sold to. Advertised upon and at. It might disgust you. It might hypnotize you. It might confuse you. You might say "Why does the bass player from Rancid talk like an 8th Grader writing in his diary after reading a text book about philosophy he found at a street sale?" You might say that, and I wouldn't blame you.
Now that you have gone through that little crisis, and find yourself still reading, you'll find that I haven't lied to you. In fact, I've helped you. You're now saying to yourself "Sell to me." I mean, why wouldn't you? You know what's coming. You want to get it over with.
I'm just preparing us both for the inevitable. That way I feel less like a pathetic Willy Loman; and you feel like you're being respected. I'm respecting you, as hard as I can, with this advertising.
This is, in its way, the most respectful advertising you probably have ever received.
It begins:
I am a playwright, and not a bass player. That should not be held against me. A play of mine, called "An Interview with the Author" was seen in June as a part of the terribly entertaining Pretentious Festival at the Brick Theater in Brooklyn, NY. If you did not to attend any of the performances that were held in June, you have not entirely failed yourself. "An Interview with the Author" will go on, but only four more times. If you do not see one of those four performances, its likely you will never see it.
So see it.
The "tickets" are inexpensive. You'll likely spend more money afterwards on whatever liquor keeps you from killing yourself. The performance is not terribly long. In fact, I spend more time convincing myself that I am not fooling myself, than I do performing this particular play on-stage. A short play and inexpensive "tickets" adds up to one thing: More time to drink so that we all do not kill ourselves.
Or, if you are in AA, more time to look at those of us drinking, happily remembering that time you almost killed yourself with a bottle.
Christ, this has gotten off-track.
Anyhow...the play has been acceptably reviewed by websites and bloggers. It has been ignored by the print media, because they are busy forgetting how to find their own asses with their hands.
Attend a performance. The performances, in July, are:
7pm Friday the 13th (Oooh, some idiots find that interesting!)
7pm Saturday the 14th
7pm Friday the 20th
7pm Saturday the 21st
Why shouldn't you see it at this point? You've actually invested a fair amount of time thinking about it. Because you are being Advertised To. I mean, you knew that, but let's just all be upfront about it.
Now that this dirty business is over with, you will purchase a ticket or e-mail your friends and say "Hey Let's All See This Young Upstart Writer Who Will Entertain Us."
Thank you for your kind attention.
I have a computer. That is as plain as the nose that you can imagine on my face. I am expressing my importance, and the importance of What I Am Doing and Why You Should Care.
So, I will not pretend as if we are both fools, you and I, dear reader.
You are reading this blog because you are interested in watching people argue; you are interested in me, personally, because you thought I was the bass player for Rancid; you love the Stage; you have developed a sort of habit of reading it you cannot explain; or, perhaps, you harbor a secret crush. Nonetheless, you do not come here seeking advertising.
I, though, would argue that I am an advertisement for myself. Aren't we all? Isn't that painfully true, what I have said?
Therefore...
I am about to advertise to you. I am about to, as you read this, sell you a "ticket." Isn't that word so inadequate for what it means? I am going to sell you permission to view my Art. "Ticket" simply doesn't do the thing justice.
Ahem.
Either way...you could stop reading at any time. You are currently being Sold to. Advertised upon and at. It might disgust you. It might hypnotize you. It might confuse you. You might say "Why does the bass player from Rancid talk like an 8th Grader writing in his diary after reading a text book about philosophy he found at a street sale?" You might say that, and I wouldn't blame you.
Now that you have gone through that little crisis, and find yourself still reading, you'll find that I haven't lied to you. In fact, I've helped you. You're now saying to yourself "Sell to me." I mean, why wouldn't you? You know what's coming. You want to get it over with.
I'm just preparing us both for the inevitable. That way I feel less like a pathetic Willy Loman; and you feel like you're being respected. I'm respecting you, as hard as I can, with this advertising.
This is, in its way, the most respectful advertising you probably have ever received.
It begins:
I am a playwright, and not a bass player. That should not be held against me. A play of mine, called "An Interview with the Author" was seen in June as a part of the terribly entertaining Pretentious Festival at the Brick Theater in Brooklyn, NY. If you did not to attend any of the performances that were held in June, you have not entirely failed yourself. "An Interview with the Author" will go on, but only four more times. If you do not see one of those four performances, its likely you will never see it.
So see it.
The "tickets" are inexpensive. You'll likely spend more money afterwards on whatever liquor keeps you from killing yourself. The performance is not terribly long. In fact, I spend more time convincing myself that I am not fooling myself, than I do performing this particular play on-stage. A short play and inexpensive "tickets" adds up to one thing: More time to drink so that we all do not kill ourselves.
Or, if you are in AA, more time to look at those of us drinking, happily remembering that time you almost killed yourself with a bottle.
Christ, this has gotten off-track.
Anyhow...the play has been acceptably reviewed by websites and bloggers. It has been ignored by the print media, because they are busy forgetting how to find their own asses with their hands.
Attend a performance. The performances, in July, are:
7pm Friday the 13th (Oooh, some idiots find that interesting!)
7pm Saturday the 14th
7pm Friday the 20th
7pm Saturday the 21st
Why shouldn't you see it at this point? You've actually invested a fair amount of time thinking about it. Because you are being Advertised To. I mean, you knew that, but let's just all be upfront about it.
Now that this dirty business is over with, you will purchase a ticket or e-mail your friends and say "Hey Let's All See This Young Upstart Writer Who Will Entertain Us."
Thank you for your kind attention.
Friday, July 06, 2007
Showcase Code Reform
Never to late to sign this.
There's a meeting from 6pm - 8pm at the Classic Stage Company on Sunday. Stop by.
It's my view that, in the end, it's only AEA members that can make this change happen.
It would be wonderful, frankly, to hear of an AEA actor with a bit of name recognition throw their weight behind Showcase Code Reform.
There's a meeting from 6pm - 8pm at the Classic Stage Company on Sunday. Stop by.
It's my view that, in the end, it's only AEA members that can make this change happen.
It would be wonderful, frankly, to hear of an AEA actor with a bit of name recognition throw their weight behind Showcase Code Reform.
Jamaica Farewell at the NY Fringe
A reader of this here blog has a show going up at this year's Fringe Festival. It's my pleasure to direct readers to her show:
Jamaica, Farewell
Meadowbrook Entertainment
Writer: Debra Ehrhardt
Director: Monique LaiJamaica.
Revolution. Visa. Impossible. CIA. Seduction. Desperation. A dream. Heartbreak. Handsome. American. Customs. Million dollars. Duffel bag. Machetes. Goats. Prostitutes. Bullets. Adrenaline. Kerosene. Run for your life.
A true story. 1h 30m
Kingston Jamaica
Drama Solo Show
myspace.com/jamaicafarewell
Jamaica, Farewell
Meadowbrook Entertainment
Writer: Debra Ehrhardt
Director: Monique LaiJamaica.
Revolution. Visa. Impossible. CIA. Seduction. Desperation. A dream. Heartbreak. Handsome. American. Customs. Million dollars. Duffel bag. Machetes. Goats. Prostitutes. Bullets. Adrenaline. Kerosene. Run for your life.
A true story. 1h 30m
Kingston Jamaica
Drama Solo Show
myspace.com/jamaicafarewell
Thursday, July 05, 2007
Planet Unicorn
This girl got this thing stuck in my head. Now, this wonderful song will be the ruination of us all.
Tuesday, July 03, 2007
Nosedive Fundraising
Contribute here to Nosedive Productions (home of James Comtois.) I just made my donation!
An Interview with the Author - Now Even Longer
Please note this page, wherein you shall find evidence of my extension. I have been extended.
There are performances
Friday 7/13 7pm
Saturday 7/14 7pm
Friday 7/20 7pm
Saturday 7/21 7pm
Note these evidences of our excellence:
Nytheatre.com
James
Aaron
Respect us. Attend. Purchase tickets.
There are performances
Friday 7/13 7pm
Saturday 7/14 7pm
Friday 7/20 7pm
Saturday 7/21 7pm
Note these evidences of our excellence:
Nytheatre.com
James
Aaron
Respect us. Attend. Purchase tickets.
Movies
Yup, I saw a bunch of movies. Quick reviews.
Ratatouille - Just stunningly animated and conceived. Maybe the best Pixar movie I've seen.
Sicko - Will someone please give Michael Moore the key to the city already? Those who nitpick Sicko just sort of make me scratch my head. It's as if to say "Oh, sure there's a massive Healthcare Crisis and it's enslaving the American People and denying them their basic rights...but the way he uses EDITING really burns me."
I've heard it said that Sicko doesn't give the Health Insurance Industry a chance to respond. Well, we're living in their version of America. That's their say. One two hour movie of a completely different vision, I think, is fair game.
Transformers - (Just saw this with friends at a late night screening) Giant. Robots. Blow. Things. Up. So, yeah, if you like that sort of thing, you will love this movie. I, for one, loved Transformers as a kid, and I felt like they made it just to make me happy. You actually say "How many more things can blow up?! Oh! MORE!?" Crass, but perfect.
Ratatouille - Just stunningly animated and conceived. Maybe the best Pixar movie I've seen.
Sicko - Will someone please give Michael Moore the key to the city already? Those who nitpick Sicko just sort of make me scratch my head. It's as if to say "Oh, sure there's a massive Healthcare Crisis and it's enslaving the American People and denying them their basic rights...but the way he uses EDITING really burns me."
I've heard it said that Sicko doesn't give the Health Insurance Industry a chance to respond. Well, we're living in their version of America. That's their say. One two hour movie of a completely different vision, I think, is fair game.
Transformers - (Just saw this with friends at a late night screening) Giant. Robots. Blow. Things. Up. So, yeah, if you like that sort of thing, you will love this movie. I, for one, loved Transformers as a kid, and I felt like they made it just to make me happy. You actually say "How many more things can blow up?! Oh! MORE!?" Crass, but perfect.
Monday, July 02, 2007
No Prison for Scotter, Convicted Felon
The list of offenses against what we once politely called Democracy by George Bush has grown out of control. With this statement, he humiliates us.
What, exactly, does it take to cause rebellion in the streets? Or at least, impeachment proceedings? The President, and his wards, are overtly criminal.
What, exactly, does it take to cause rebellion in the streets? Or at least, impeachment proceedings? The President, and his wards, are overtly criminal.
Most Understood
Last night, I was given a citation of failure at the Closing Night and Awards Ceremony of the Pretentious Festival. My award: Most Understood.
I apologize to all my Pretentious compatriots for writing work that garnered laughter and nods of understanding from the audience. It was not my intention to to be "understood."
In other news, An Interview with the Author has been extended by the Brick Theater. We will have four more performances in July. Which proves the old adage: "Integrity is for artists; Extension is for Matthew Freeman."
I apologize to all my Pretentious compatriots for writing work that garnered laughter and nods of understanding from the audience. It was not my intention to to be "understood."
In other news, An Interview with the Author has been extended by the Brick Theater. We will have four more performances in July. Which proves the old adage: "Integrity is for artists; Extension is for Matthew Freeman."
Friday, June 29, 2007
Back from Arizona
We stayed in Sedona. Amazing. Great time. Back in NY.
So what's up theatrosphere? Anything I should be reading?
So what's up theatrosphere? Anything I should be reading?
Thursday, June 21, 2007
National Premiere
UPDATE: Tomorrow I'm heading out to Arizona for a week-long vacation with Pam's family (and Pam of course), so, more than likely, I won't be updating until next Friday.
I invite everyone to use my comments section to hammer things out; to read Slay's posts on the subject (like this new one) and comment over there.
I've received a few e-mails at this point from interested companies (which is wonderful and thanks to all who contacted me) and I invite more. (Mattfr at gmail.com). Slay's also invited interested parties to contact him, so I suggest that as well. I'm sure he and I will compare notes.
I hope that other bloggers chime in (especially Art, who was a part of the initial conversation and really helped spark the idea) and that readers connect companies they know with this concept. Let's see if we can turn conversation into action.
Well the "theatrosphere" has become a very active place, no? After the Tonys, there was a fury of postings about theatre and television and how they compare. I posted this, which sparked some fantastic comments which brought to the fore, for me anyhow, the idea of simultaneously opening a single play, on the same day, all over the country.
Read more about this, and a great distillation of the discussion, here.
Here's the reasoning:
One of the challenges of theatre is that it is an art that takes place at a single place, at a single moment, with live performers. That is its strength, but it is primarily a technological challenge. Film and television can distribute their work on multiple platforms (theaters, in your home, on DVD, via rental, downloads, iPod, Netflix) and plays simply don't work that way. How, then, to create a sense of national awareness and national conversation about a single production, outside of the niche of theatre fans and New York-o-files?
What currently happens, for the most part, is that a play opens in a single location (New York for example) has its run, and then either tours afterwards, or is picked up by individual companies. This happens in a very traditional way: the playwright tries to use reviews of the initial run to garner interest in other companies. This work means that productions after the original require a sort of repeated effort each time on the part of the playwright to get a production to happen.
Here's how a National Premiere might work, and help to move theatrical distribution of new works to a more modern model:
A series of smaller budget theater companies, who work at a professional level but have, say, less than 99 seat houses, agree to open, on the same day, a single work by a single writer. Let's say March 1st, 2009. Each company would pool resources for marketing, but essentially mount separately cast and directed productions of the single work. That means the resources these companies usually put into any given production would remain the same, but they would be a part of a national event, announcing a new work to the country, as opposed to their region. In some ways, it mimics the model of film distribution.
Why not larger institutions like The Public? Frankly, it would take years for companies of this size to come together with other companies of comparable size. They benefit from having a World Premiere in a variety of ways, but in terms of clout and finance. The sheer number of lawyers it would take to get the Goodman and the Public and the Guthrie to share a premiere would shut it down relatively quickly. That's my assumption, from the outside.
Furthermore, smaller companies are just more agile. They can make decisions like this more quickly, gather resources more quickly, and a loose affiliation is probably a more easy way to make a National Premiere work.
The playwright in question, of course, would have massive benefit. If each company paid standard royalties (which they would do if the show was not a part of this type of model anyhow) then the playwright would be looking at a substantial royalty check at the time. The playwright would also be seen by more eyeballs in the event of a single-month run at one time, than they likely would be in a six-month run in a single city.
Smaller companies would benefit from having immediate access to the cutting edge work, and also be a part of something that would raise not only awareness within the theater community of their work, but also potentially bring new audiences to their doorstep.
It's an idea, I think, that has legs. The problem, of course, is that there is a large gap between online activity ("That's a great idea!") and action in the real world. So...what would need to happen?
First of all, I, personally, would be happy to hear from any company that would find this interesting. I would also be happy to contact companies myself on the recommendation of others. Basically, this is the starting point... connecting companies with one another and gauging actual interest. Speaking to artistic directors about how possible this is.
All the real logistics would come afterwards. Which play, what date, how many companies. The first step is interest.
The make it simple, I'd like to focus on these areas:
Illinois
California
Washington State
Washington DC
Minnesota
Florida
Massachusetts
Pennsylvania
Texas
Georgia
Ohio
New York
North Carolina
That's a start. I'd love to hear from at least ONE company that's interested (or about what company that should be informed) from each of those states. If that can happen, I think it might be possible to add more. If you're not in an urban market, that's just fine. If you are, sweet. It would be fantastic to be able to post a series of companies that have specifically raised their hand to say: "I want in."
E-mail me at: Mattfr at gmail.com
Love to hear more thoughts and more ideas. I've read that some think colleges should be involved. I've read the idea of a "dinner theater" model that brings standard programming to a variety of cooler art spaces. Sort of a franchise version of this idea. There's been discussion of existing networks that do this, on some level, already. Could those networks be used as the framework to make this happen?
Exciting stuff. Let's see where it might go.
I invite everyone to use my comments section to hammer things out; to read Slay's posts on the subject (like this new one) and comment over there.
I've received a few e-mails at this point from interested companies (which is wonderful and thanks to all who contacted me) and I invite more. (Mattfr at gmail.com). Slay's also invited interested parties to contact him, so I suggest that as well. I'm sure he and I will compare notes.
I hope that other bloggers chime in (especially Art, who was a part of the initial conversation and really helped spark the idea) and that readers connect companies they know with this concept. Let's see if we can turn conversation into action.
Well the "theatrosphere" has become a very active place, no? After the Tonys, there was a fury of postings about theatre and television and how they compare. I posted this, which sparked some fantastic comments which brought to the fore, for me anyhow, the idea of simultaneously opening a single play, on the same day, all over the country.
Read more about this, and a great distillation of the discussion, here.
Here's the reasoning:
One of the challenges of theatre is that it is an art that takes place at a single place, at a single moment, with live performers. That is its strength, but it is primarily a technological challenge. Film and television can distribute their work on multiple platforms (theaters, in your home, on DVD, via rental, downloads, iPod, Netflix) and plays simply don't work that way. How, then, to create a sense of national awareness and national conversation about a single production, outside of the niche of theatre fans and New York-o-files?
What currently happens, for the most part, is that a play opens in a single location (New York for example) has its run, and then either tours afterwards, or is picked up by individual companies. This happens in a very traditional way: the playwright tries to use reviews of the initial run to garner interest in other companies. This work means that productions after the original require a sort of repeated effort each time on the part of the playwright to get a production to happen.
Here's how a National Premiere might work, and help to move theatrical distribution of new works to a more modern model:
A series of smaller budget theater companies, who work at a professional level but have, say, less than 99 seat houses, agree to open, on the same day, a single work by a single writer. Let's say March 1st, 2009. Each company would pool resources for marketing, but essentially mount separately cast and directed productions of the single work. That means the resources these companies usually put into any given production would remain the same, but they would be a part of a national event, announcing a new work to the country, as opposed to their region. In some ways, it mimics the model of film distribution.
Why not larger institutions like The Public? Frankly, it would take years for companies of this size to come together with other companies of comparable size. They benefit from having a World Premiere in a variety of ways, but in terms of clout and finance. The sheer number of lawyers it would take to get the Goodman and the Public and the Guthrie to share a premiere would shut it down relatively quickly. That's my assumption, from the outside.
Furthermore, smaller companies are just more agile. They can make decisions like this more quickly, gather resources more quickly, and a loose affiliation is probably a more easy way to make a National Premiere work.
The playwright in question, of course, would have massive benefit. If each company paid standard royalties (which they would do if the show was not a part of this type of model anyhow) then the playwright would be looking at a substantial royalty check at the time. The playwright would also be seen by more eyeballs in the event of a single-month run at one time, than they likely would be in a six-month run in a single city.
Smaller companies would benefit from having immediate access to the cutting edge work, and also be a part of something that would raise not only awareness within the theater community of their work, but also potentially bring new audiences to their doorstep.
It's an idea, I think, that has legs. The problem, of course, is that there is a large gap between online activity ("That's a great idea!") and action in the real world. So...what would need to happen?
First of all, I, personally, would be happy to hear from any company that would find this interesting. I would also be happy to contact companies myself on the recommendation of others. Basically, this is the starting point... connecting companies with one another and gauging actual interest. Speaking to artistic directors about how possible this is.
All the real logistics would come afterwards. Which play, what date, how many companies. The first step is interest.
The make it simple, I'd like to focus on these areas:
Illinois
California
Washington State
Washington DC
Minnesota
Florida
Massachusetts
Pennsylvania
Texas
Georgia
Ohio
New York
North Carolina
That's a start. I'd love to hear from at least ONE company that's interested (or about what company that should be informed) from each of those states. If that can happen, I think it might be possible to add more. If you're not in an urban market, that's just fine. If you are, sweet. It would be fantastic to be able to post a series of companies that have specifically raised their hand to say: "I want in."
E-mail me at: Mattfr at gmail.com
Love to hear more thoughts and more ideas. I've read that some think colleges should be involved. I've read the idea of a "dinner theater" model that brings standard programming to a variety of cooler art spaces. Sort of a franchise version of this idea. There's been discussion of existing networks that do this, on some level, already. Could those networks be used as the framework to make this happen?
Exciting stuff. Let's see where it might go.
Wednesday, June 20, 2007
Tuesday, June 19, 2007
National Premiere - A Challenge
Hey there...read this. Run a theater company and want to get involved? Know a theater company that should be involved? Contact Slay.
Looks like this has taken off a bit. I'm actually very excited by the idea.
Looks like this has taken off a bit. I'm actually very excited by the idea.
Show Showdown on "Interview with the Author"
Thanks Aaron! (Flubs, on that night, there were. Therein lies a tale...)
Christopher Shinn on Blogging
"I don't blog much, but I think that's important to have a presence online these days. I put most of my energy into my work and my personal relationships and frankly find that the internet inspires a pretty regressive and limited dialogue. But it's enough a part of our lives that one can't ignore it completely. Still, what interests me most is live interaction among real human beings."
- Shinn
Not exactly a ringing endorsement of the bloggers that seem to so support Shinn's work, is it? Ah well. One can't ignore the internet completely, try as one might.
- Shinn
Not exactly a ringing endorsement of the bloggers that seem to so support Shinn's work, is it? Ah well. One can't ignore the internet completely, try as one might.
Update:
I got a very fair e-mail from Christopher Shinn, explaining that while he stood by his statements that live experiences, real life and "deep reading" are far more valuable to discourse than is the internet; he was thinking more about political blogs than theatre blogging, and meant no disrespect to bloggers that support (and don't support) his work. He was intending to speak more to "electronic media" than the day-to-day discourse we may find here.
I appreciate his explanation. It's more than I deserve, to be honest. He didn't ask for an apology, bu I owe him one. My first instinct, upon waking up this morning, was to remove this post.
On second thought, I'd like to explain a little bit about why I think this posting was wrong-headed and maybe, instead of "deleting" or getting defensive, act like a grown-up about why I was just acting like a child.
What's unique about this medium is its immediacy. If I read something, I can speak to it. I can interact with it. I can interact with other bloggers, and the news media, and my artistic work. There's no substantive process that takes place between my typing this and you reading it. The only thing that controls what I say and when I say it and how I say it is...me. Purely. I play this game alone, and other people get to watch, and we, as a community, sort of self-regulate. What's good about me can be carefully presented and constructed, and used to promote my ideas and my work. What's bad about me, what is careless, thoughtless or self-aggrandizing, can be highlighted and distributed pretty quickly too.
What I just did to Christopher Shinn, therefore, was irresponsible for a few reasons. First of all, it's precisely the sort of limited conversation he's criticizing. It's shrill, it's glib, and it lacks substance or context. It doesn't actually respond to what he's saying. If I disagree, or I don't understand his statement, I think it's perfectly acceptable to use public space for it. Just to give him heat, though, is school yard silliness.
Second of all, it's bullying. Christopher Shinn writes something I disagree with, and I use my forum to force him to explain himself. Why should he feel it necessary to send me an explanation? I don't personally know the man, and my statement was unfair. I demanded (in a roundabout way) some sort of response. Bullying, in a sense, as opposed to public discourse.
The essential question that should be asked, when using spaces like this is...what am I hoping to accomplish? Will this further discussion? Will this alienate, needlessly, another artist? Will this create debate, or just create a sense of snippy superiority. "Here," I say, "I think Shinn misspoke and I'm not going to let him get away with it!"
If I were to act this way to him in person, it wouldn't be any better. The fact that I'm doing it from the safety of my office, or the computer I use it work, makes it worse. It assumes a moral authority that is granted to me by...whom? Blogger.com?
In short... I don't think that all posting needs to be carefully constructed, or an essay, or a news article. Part of the fun of blogs can be the glib humor and the quick jabs and the playfulness. But the jab I just took at Christopher Shinn was unneccessary, inaccurate and pretty much confirms the worst part of the immediacy of the medium. Instead of deleting it, I'd rather leave this up as reminder to check in with myself before criticizing someone else publically.
Is it really that big a deal? On the surface, no. It is to me, I think, because my own behavior is one of the few things I can control. If I want to see gentility and fairness, the first thing I can do is act with gentility and fairness. If I'd like to see, for example, another blogger or commenter occasionally say "My mistake" I should be willing to do so myself.
So...I apologize for using this space to give Christopher a hard time. I certainly hope to be a bit more careful about it in the future.
Jesus CHRIST!
Ok, ok, Isherwood. We get it. You love Sarah Ruhl. Ok!? Fine. Why? Because she went to Brown? Is that it? Is that it?!
I'm sorry. I don't know what came over me.
I'm sorry. I don't know what came over me.
Monday, June 18, 2007
Monday Morning Notes
Good morning, true believers.
1) Interview with an Author's performance on Friday was a great success and I'd like to thank everyone who attended any of the performances. Remember that the Brick has many more shows over the next few weeks as a part of the Pretentious Festival, so check them out. $10!
2) Ever watched Slings & Arrows. God, it's good!
3) Note here the discussion of "Nation-wide Premieres." Great comments here, and I think it's all worthy reading, both pro- and con-. I'll do a full posting about this to follow up as soon as I am able.
1) Interview with an Author's performance on Friday was a great success and I'd like to thank everyone who attended any of the performances. Remember that the Brick has many more shows over the next few weeks as a part of the Pretentious Festival, so check them out. $10!
2) Ever watched Slings & Arrows. God, it's good!
3) Note here the discussion of "Nation-wide Premieres." Great comments here, and I think it's all worthy reading, both pro- and con-. I'll do a full posting about this to follow up as soon as I am able.
Friday, June 15, 2007
Final Performance Tonight
Wanted to remind everyone, for the 300th time, that the final performance of An Interview with the Author will be tonight at 7pm at the Brick Theater, as a part of the Pretentious Festival.
Love to see everyone there.
Take a look at these links for great things that have been said about the piece:
Johnna
Cat*
James
Nytheatre.com
You can purchase advance tickets in the link on the sidebar or step right up to the Brick itself before showtime.
Make sure you check out the other great shows as a part of the Festival as well!
For more conversation, and less plugging, there has been a run of fantastic comments and ideas on this post. Do check it out. The post itself seems to have sparked some great discussion about "nationwide" play openings.
Love to see everyone there.
Take a look at these links for great things that have been said about the piece:
Johnna
Cat*
James
Nytheatre.com
You can purchase advance tickets in the link on the sidebar or step right up to the Brick itself before showtime.
Make sure you check out the other great shows as a part of the Festival as well!
For more conversation, and less plugging, there has been a run of fantastic comments and ideas on this post. Do check it out. The post itself seems to have sparked some great discussion about "nationwide" play openings.
Thursday, June 14, 2007
Tony versus The Tonys
So the ratings are in and of course 11 million or so viewers watched the Sopranos Finale, against about 6.2 million who watched the Tony Awards on Sunday night. Because of the ubiquitous Salon article, these figures are of interest. Some have used it as confirmation that Theatre is failing to reach audiences, and use it to point to what they see as flaws of playwrighting and producing the medium.
I've said, in a bit of a rambling way, that I found the article to be indicative of stereotypes and also a misunderstanding of how development affect theatre as a whole. Jason Grote speaks well to a lot of this here.
Let me get a little more to the point and sort of bring my thoughts on this together.
Over at Superfluities, George Hunka threw his hat into the ring regarding the debate about Howard Barker and the sudden lack of funding that his company is receiving. The argument can be reduced to this (I'm sure it's more complex, but bear with me):
We have a responsiblity to fund and support significant artists as a public, because simply applying the standards of commerical viability to them does them a disservice. Not all value can be reduced to dollars.
What struck me as a bit paradoxical in George's argument, and in the arguments of some others, is that while he was supporting Barker's right to public funding, he has also noted that he felt that one of the reasons that audiences haven't been attending the theatre, is because theatre artists are lacking something. They are making trite, uninspiried works that fail to communicate something of merit, or that fail to reach audiences. In this respect, George and Scott Walters are in a sort of agreement: They both seem to believe Theatre is broken and needs fixing. One way or another. Either because modern theatre lacks the desire to adventure in form, or content, or because it is too beholden to the marketplace, or because it refuses to abhor the marketplace, or because plays are using old forms, or because the new forms aren't new enough, etc. etc.
This, oddly enough, is the logic of the marketplace. It might be the marketplace of ideas, but it's still a marketplace. It says that audiences follow and find good works because of their quality. That seems to contradict the idea, of course, that the Arts need public funding. If Barker needs public funding, does it mean that his work fails to attract an audience, and therefore is of low quality?
The answer, of course, is no. How does this connect to the Sopranos versus Tony Awards discussion? The same principle is at work here.
No single factor brings audiences together, just as no single factor creates quality artistry in any medium. The Arts do need public funding, because the value of a dollar does not equal the value of an actual thing. If it did, public school teachers would be paid more than NBA Basketball players.
They aren't, of course, because the value of a dollar is merely reflective of a revenue stream. What goes in must come out. Basketball players are necessary members of an industry that uses a game to sell labels, products, tickets, t-shirts, television adverstising, the works. They have a revenue stream that supports thousands of people and hundreds of products. Public school teachers do not create a revenue stream. They create (ideally) intelligent, responsible citizens.
That is why public school teachers should not be held to the same market standard of basketball stars. They are not in the same business. It's simply not an apt comparison. It might indicate that the society's standards for the value of a dollar are skewed. It might also, simply, indicate that dollars move in certain ways around a market economy and the function of government, and public funding, is to stress the importance of things that are not immediately reflected by the sale of a t-shirt.
Now, the comparison between television and theater is a bit different. They have the outward appearance of similarity. They both have characters, writers, directors, storytelling. They share, often, themes and structures. Even talent. It is not a question of sports and school. It's a question of one medium of storytelling and another. That's why it's tempting to see the rise of one as the fall of the other. It's tempting to see 11 million viewers versus 6 million viewers as an damning indication that television is more popular because it speaks to audiences more effectively than theatre does.
That conclusion is wildly off-base.
The major difference between television and theater (of the many) is simply technological. That technological difference transforms not only the way in which each tell stories, but the way in which those stories are absorbed, by whom, and how often.
How does one watch The Sopranos? Spend the money to get a TV, cable, and a subscription to HBO. How many times does one watch The Sopranos? If you're a fan... 86. There are 86 episodes of this television show. Even if you watch only half of them, you are viewing it 43 times. A single episode is also rebroadcast throughout the week of first-run. That is not counting re-runs. Or rebroadcast on A&E.
So... one of the revenue streams of the Sopranos is subscriptions to HBO. What else? DVD sales. The box set of Season 1 of the Sopranos costs about $45 on Amazon.com. If you paid $45 dollars, yourself, for each season that's $270 you just spent, personally, to own 86 hours of television. That's just a single person. Millions of these individually packaged Seasons are sold.
What else does this provide besides a revenue stream? Knowledge. What if you didn't watch the first season of The Sopranos? You can buy or rent the DVDs, or get the mailed to you via Netflix, catch up, get HBO and watch with everyone else. Audiences can be built. They can go away and be replaced. They can be educated to the story. There is a deliverable.
The Sopranos is rebroadcast on A&E. A&E sells advertising during the edited episodes. More revenue, more audiences.
I want to take note of something. I have yet to speak about the quality of The Sopranos. I'm talking logistics. How does this show reach 11 million people and cultivate a fan base? How does it speak to so many people? How come a kid in the middle of Kentucky and I, living in Brooklyn, can have precisely the same experience with this television program? Technology. Revenue streams.
Theatre, by its nature, cannot do this. Theatre is performed live. It is performed in certain locations at certain times. Videotape it and e-mail it to a friend and you are not, actually, experiencing it as Theatre. Theatre reaches fewer people. That is not an indication of its quality, it is an indication of its nature.
Is this a flaw? No. It is a fundamental difference. Wicked is a smash hit on Broadway. Last week's grosses were about $1.4 million or so. It played at the Gershwin. That's with a $100.00 ticket price. Wicked will run for years, and sell its cast album.
Knocked Up made about $30 million dollars at a $10 ticket price in its opening weekend. It played on 2,800 screens. It will play on those screens several times a day for a few months. Then, we can all buy it for $30 on DVD until the stop making DVDs. It wasn't even Number One at the Box Office last weekend.
Is Knocked Up, therefore, of higher quality than Wicked? It makes no difference. Even the worst movie will outgross Wicked simply because it is capable. That does not mean, of course, that Wicked is unprofitable or without value. Any given production of Endgame will have substantially fewer viewers than any single showing of American Idol. There's no remedy for that, unless we believe that simple exposure is akin to a value judgment.
What does this all mean? None of this is a question of quality or value. We can argue the merits within the purely subjective context of merit itself, certainly. I see lots of quality theatre and I hope that I create quality theatre. That's an entirely different issue, one that has its own ups and downs. It is a question of technology and logistics. Theatre, perhaps, can do more to market itself to new audiences (I've raised that flag often) and certainly we should never stop seeking to innovate or strive in our art. But to compare Tony Soprano to the Tony Awards is like comparing the NBA to the Opera.
It's fundamentally unfair and misleading to use the differences in audience as the foundation for an argument about the merits of what is seen on the stage.
I've said, in a bit of a rambling way, that I found the article to be indicative of stereotypes and also a misunderstanding of how development affect theatre as a whole. Jason Grote speaks well to a lot of this here.
Let me get a little more to the point and sort of bring my thoughts on this together.
Over at Superfluities, George Hunka threw his hat into the ring regarding the debate about Howard Barker and the sudden lack of funding that his company is receiving. The argument can be reduced to this (I'm sure it's more complex, but bear with me):
We have a responsiblity to fund and support significant artists as a public, because simply applying the standards of commerical viability to them does them a disservice. Not all value can be reduced to dollars.
What struck me as a bit paradoxical in George's argument, and in the arguments of some others, is that while he was supporting Barker's right to public funding, he has also noted that he felt that one of the reasons that audiences haven't been attending the theatre, is because theatre artists are lacking something. They are making trite, uninspiried works that fail to communicate something of merit, or that fail to reach audiences. In this respect, George and Scott Walters are in a sort of agreement: They both seem to believe Theatre is broken and needs fixing. One way or another. Either because modern theatre lacks the desire to adventure in form, or content, or because it is too beholden to the marketplace, or because it refuses to abhor the marketplace, or because plays are using old forms, or because the new forms aren't new enough, etc. etc.
This, oddly enough, is the logic of the marketplace. It might be the marketplace of ideas, but it's still a marketplace. It says that audiences follow and find good works because of their quality. That seems to contradict the idea, of course, that the Arts need public funding. If Barker needs public funding, does it mean that his work fails to attract an audience, and therefore is of low quality?
The answer, of course, is no. How does this connect to the Sopranos versus Tony Awards discussion? The same principle is at work here.
No single factor brings audiences together, just as no single factor creates quality artistry in any medium. The Arts do need public funding, because the value of a dollar does not equal the value of an actual thing. If it did, public school teachers would be paid more than NBA Basketball players.
They aren't, of course, because the value of a dollar is merely reflective of a revenue stream. What goes in must come out. Basketball players are necessary members of an industry that uses a game to sell labels, products, tickets, t-shirts, television adverstising, the works. They have a revenue stream that supports thousands of people and hundreds of products. Public school teachers do not create a revenue stream. They create (ideally) intelligent, responsible citizens.
That is why public school teachers should not be held to the same market standard of basketball stars. They are not in the same business. It's simply not an apt comparison. It might indicate that the society's standards for the value of a dollar are skewed. It might also, simply, indicate that dollars move in certain ways around a market economy and the function of government, and public funding, is to stress the importance of things that are not immediately reflected by the sale of a t-shirt.
Now, the comparison between television and theater is a bit different. They have the outward appearance of similarity. They both have characters, writers, directors, storytelling. They share, often, themes and structures. Even talent. It is not a question of sports and school. It's a question of one medium of storytelling and another. That's why it's tempting to see the rise of one as the fall of the other. It's tempting to see 11 million viewers versus 6 million viewers as an damning indication that television is more popular because it speaks to audiences more effectively than theatre does.
That conclusion is wildly off-base.
The major difference between television and theater (of the many) is simply technological. That technological difference transforms not only the way in which each tell stories, but the way in which those stories are absorbed, by whom, and how often.
How does one watch The Sopranos? Spend the money to get a TV, cable, and a subscription to HBO. How many times does one watch The Sopranos? If you're a fan... 86. There are 86 episodes of this television show. Even if you watch only half of them, you are viewing it 43 times. A single episode is also rebroadcast throughout the week of first-run. That is not counting re-runs. Or rebroadcast on A&E.
So... one of the revenue streams of the Sopranos is subscriptions to HBO. What else? DVD sales. The box set of Season 1 of the Sopranos costs about $45 on Amazon.com. If you paid $45 dollars, yourself, for each season that's $270 you just spent, personally, to own 86 hours of television. That's just a single person. Millions of these individually packaged Seasons are sold.
What else does this provide besides a revenue stream? Knowledge. What if you didn't watch the first season of The Sopranos? You can buy or rent the DVDs, or get the mailed to you via Netflix, catch up, get HBO and watch with everyone else. Audiences can be built. They can go away and be replaced. They can be educated to the story. There is a deliverable.
The Sopranos is rebroadcast on A&E. A&E sells advertising during the edited episodes. More revenue, more audiences.
I want to take note of something. I have yet to speak about the quality of The Sopranos. I'm talking logistics. How does this show reach 11 million people and cultivate a fan base? How does it speak to so many people? How come a kid in the middle of Kentucky and I, living in Brooklyn, can have precisely the same experience with this television program? Technology. Revenue streams.
Theatre, by its nature, cannot do this. Theatre is performed live. It is performed in certain locations at certain times. Videotape it and e-mail it to a friend and you are not, actually, experiencing it as Theatre. Theatre reaches fewer people. That is not an indication of its quality, it is an indication of its nature.
Is this a flaw? No. It is a fundamental difference. Wicked is a smash hit on Broadway. Last week's grosses were about $1.4 million or so. It played at the Gershwin. That's with a $100.00 ticket price. Wicked will run for years, and sell its cast album.
Knocked Up made about $30 million dollars at a $10 ticket price in its opening weekend. It played on 2,800 screens. It will play on those screens several times a day for a few months. Then, we can all buy it for $30 on DVD until the stop making DVDs. It wasn't even Number One at the Box Office last weekend.
Is Knocked Up, therefore, of higher quality than Wicked? It makes no difference. Even the worst movie will outgross Wicked simply because it is capable. That does not mean, of course, that Wicked is unprofitable or without value. Any given production of Endgame will have substantially fewer viewers than any single showing of American Idol. There's no remedy for that, unless we believe that simple exposure is akin to a value judgment.
What does this all mean? None of this is a question of quality or value. We can argue the merits within the purely subjective context of merit itself, certainly. I see lots of quality theatre and I hope that I create quality theatre. That's an entirely different issue, one that has its own ups and downs. It is a question of technology and logistics. Theatre, perhaps, can do more to market itself to new audiences (I've raised that flag often) and certainly we should never stop seeking to innovate or strive in our art. But to compare Tony Soprano to the Tony Awards is like comparing the NBA to the Opera.
It's fundamentally unfair and misleading to use the differences in audience as the foundation for an argument about the merits of what is seen on the stage.
Living Dead in Denmark
Vampire Cowboys are in the midst of a short run at the Clurman at Theatre Row of Living Dead in Denmark. $18 admission. You should go and see it.
Two more nights. Tonight and tomorrow.
Now... tomorrow, of course, I have my own show at 7pm.
You must choose who love more: Qui or Me.
Vote with your hearts.
(My show is cheaper. His has more fights.)
Two more nights. Tonight and tomorrow.
Now... tomorrow, of course, I have my own show at 7pm.
You must choose who love more: Qui or Me.
Vote with your hearts.
(My show is cheaper. His has more fights.)
Wednesday, June 13, 2007
"Total Eclipse of the Heart"
Thanks Devore, for sharing this.
Take a break from deep thoughts, won't you?
Take a break from deep thoughts, won't you?
Interview with the Author
Final performance on Friday at 7pm.
Yes, that means you will have to leave your job at 5:30pm, immediately grab a bite to eat and head out out to Williamsburg.
...but you WANT to do that. Otherwise you'll miss an incredible performance by a prominent artist.
How could you live with yourself?
Tickets here!
Yes, that means you will have to leave your job at 5:30pm, immediately grab a bite to eat and head out out to Williamsburg.
...but you WANT to do that. Otherwise you'll miss an incredible performance by a prominent artist.
How could you live with yourself?
Tickets here!
Support Feed The Herd
Hey everyone:
Feed The Herd is coming to 3LD with Doppleganger, which opens June 23rd. Ever been to a show at 3LD? It's friggin' cool, crew.
Anyhow, you can get tickets for this production here.
If you buy a ticket for any of the first two weeks of the performance before July 1st (get that) and use the code herdlet2... tickets are $18 as opposed to $25. That's a pretty good deal to me.
Apparently, also, they're throwing a party after the June 23rd show. Go to the show and stay for the party.
You can also directly support this company here.
Just to let you know: Right now Feed the Herd is about 30% to their goal in a 10K campaign. Buying a ticket is good for everyone (you and them), making a donation will just plain help them out.
Look at all those lovely links! Click 'em!
Feed The Herd is coming to 3LD with Doppleganger, which opens June 23rd. Ever been to a show at 3LD? It's friggin' cool, crew.
Anyhow, you can get tickets for this production here.
If you buy a ticket for any of the first two weeks of the performance before July 1st (get that) and use the code herdlet2... tickets are $18 as opposed to $25. That's a pretty good deal to me.
Apparently, also, they're throwing a party after the June 23rd show. Go to the show and stay for the party.
You can also directly support this company here.
Just to let you know: Right now Feed the Herd is about 30% to their goal in a 10K campaign. Buying a ticket is good for everyone (you and them), making a donation will just plain help them out.
Look at all those lovely links! Click 'em!
Tuesday, June 12, 2007
Stolen Chair Theatre Company Fund Drive
Stolen Chair Theatre Company is currently seeking to raise money for the last half of their 2007 season. They're specifically seeking to broaden their small donor base, so your contribution of $10 - $24 bucks will go a long way. They're halfway to their $10,000.00 goal.
One of the fantastic things they've done to make generous support easier, is set up a monthly payment option. You can give this company $120 a year at $10 a month. Like NPR or PBS. Your dollar, though, will go a lot further. Maybe they'll share with other companies how that was set up, so that others can follow suit. It's a very, very good idea.
Read up on it here. Set up for a $10 a month payment. You won't notice it, but they will.
Anyone familiar with their work who would like to expound on its virtues? That's what the comments section is for!
One of the fantastic things they've done to make generous support easier, is set up a monthly payment option. You can give this company $120 a year at $10 a month. Like NPR or PBS. Your dollar, though, will go a lot further. Maybe they'll share with other companies how that was set up, so that others can follow suit. It's a very, very good idea.
Read up on it here. Set up for a $10 a month payment. You won't notice it, but they will.
Anyone familiar with their work who would like to expound on its virtues? That's what the comments section is for!
Now this is easy!
Mark notes a modest fundraising endeavor that could easily be achieved by all of us before 5pm today. For a library! Who doesn't love libraries?
Go here, read about it, donate. Donate $25. Seriously, you can afford that.
UPDATE:
Hey, now this is a very nice thing. I posted that at around 11:00 am or so. It is 11:22 am by my watch. The goal has been met already. Great job Mark and Isaac and all others who put this out there.
Let's face it: this could be a very real and important part of blogs for theater.
I'll go a step further. Here's my little pledge:
If you are a theater company in the midst of a campaign to raise funds, and you e-mail me with you goals, needs and the way to donate, I will direct people to your efforts and post about it.
Go here, read about it, donate. Donate $25. Seriously, you can afford that.
UPDATE:
Hey, now this is a very nice thing. I posted that at around 11:00 am or so. It is 11:22 am by my watch. The goal has been met already. Great job Mark and Isaac and all others who put this out there.
Let's face it: this could be a very real and important part of blogs for theater.
I'll go a step further. Here's my little pledge:
If you are a theater company in the midst of a campaign to raise funds, and you e-mail me with you goals, needs and the way to donate, I will direct people to your efforts and post about it.
NAATF / The Edge of the World
A good friend of mine, F. Omar Telan, is involved in this. Sounds like a fantastic evening, and I suggest you check it out.
Omar was involved for a very long time with Too Much Light Makes The Baby Go Blind.
Join the Asian Arts Initiative in New York for the first-ever
National Asian American Theater Festival!
THE EDGE OF THE WORLD (Tickets here)
A night of 5-minute-or-shorter plays about Asian American artists & culture
LaMaMa, e.t.c.
74A East 4th St. New York, NY 10003
Featuring Regie Cabico, John Castro, Royd Hatta, Robert Karimi, Traci
Kiriyama, Dan Kim, Michelle Myer, Gary San Angel, Anula Shetty , Ryan
Suda, F. Omar Telan, and Kristina Wong
Friday, June 15, 10:00 PM
Sunday, June 17, 5:30 PM
Thursday, June 21, 10:00 PM
Saturday, June 23, 10:00 PM
$20 at the door, or on-line
$15 if you purchase in advance through the Asian Arts Initiative:
215-557-0455 (ask for Jo)
Omar was involved for a very long time with Too Much Light Makes The Baby Go Blind.
Join the Asian Arts Initiative in New York for the first-ever
National Asian American Theater Festival!
THE EDGE OF THE WORLD (Tickets here)
A night of 5-minute-or-shorter plays about Asian American artists & culture
LaMaMa, e.t.c.
74A East 4th St. New York, NY 10003
Featuring Regie Cabico, John Castro, Royd Hatta, Robert Karimi, Traci
Kiriyama, Dan Kim, Michelle Myer, Gary San Angel, Anula Shetty , Ryan
Suda, F. Omar Telan, and Kristina Wong
Friday, June 15, 10:00 PM
Sunday, June 17, 5:30 PM
Thursday, June 21, 10:00 PM
Saturday, June 23, 10:00 PM
$20 at the door, or on-line
$15 if you purchase in advance through the Asian Arts Initiative:
215-557-0455 (ask for Jo)
Monday, June 11, 2007
Stereotypes and Development
Currently involved in the Pretentious Festival. Reading things about Howard Barker. Reading about the Tony Awards. Reading about that piece in Salon (have you read it?) that basically says theatre is unpopular because TV has passed it by. (And because theater has been hijacked by development.)
What I'm hearing sounds something like this:
People in the theatre are pretentious snobs who write by candlelight, even though the rest of us are using lightbulbs. If you go to see a Broadway show, you're going to see a cheap, Circus-like knock-off of a movie or you're going to see a play that sounds like they had to blow the dust off of it before they put it on stage.
I'm also hearing, out there:
Theatre is high art, a landscape for the mind, a sort of spiritual happening that is ceaselessly compromised by the desires of the revolting marketplace and its progeny.
What I'm thinking:
Stereotypes.
The idea that playwrights sit in their Ivory Towers and write distantly dull museum pieces is an idea that can only be held by someone who hasn't seen very much new theatre, and is equating a few lousy productions (or productions that weren't their taste) to the entire theatrical community. Saying "Playwrights aren't good because I don't like Richard Greenberg" is inoffensive, but it's almost precisely the same logic that says "I don't like guys in frats because I frat guy once hit on my girlfriend" or "Blondes are stupid. I knew a stupid blonde woman once."
Note in the Salon article that Birkenhead (who is this guy again) says that if you want to know what theatre is like, take a look at Three Days of Rain. He says Angels in America and Doubt are pretty good, but MAN... A Fair Country isn't his thing. Excuse me?
Essentially, it's picking out examples of bad tendencies and applying them to a whole. There are tons of people out there with very cool music on their iPods making punk rock theater that deserves to me seen. It's reductive to paint plays and playwrights with a "you guys are out of touch" brush.
That is NOT to say that many of us who are banging away on the country's stages aren't guilty, often, of similar thinking. Other mediums, because of their popularity and commercial aptitudes, are dismissed as somehow inherently corrupt. American Idol does not equal the The Sopranos does not equal Veronica Mars does not equal Fox News. Just as Mary Poppins does not equal Long Days Journey Into Night.
There is a seduction is sequestering ourselves and attacking others. Film, television and theater seem like natural rivals, in some ways. They certainly act that way. That's, though, the thinking of children. There's no need for three different mediums to compete. They can learn, acknowledge, grow, exchange. They can simply be themselves.
As a playwright, I don't have to compete with The Sopranos. I have contend with the stereotypes that my work is obscure, or high-brow or "not for people who watch TV." That, my friends, is a far tougher opponent than David Chase.
Let me say one last thing.
I'm no huge fan of development, but the argument that development is the reason that TV has be allowed to be creative and theater is stuck in 1918...that's patently absurd. In fact, I can say without reservation that the average television show and is approved of, tinkered with, rehashed and developed by far more paid executives and marketing gurus than any play that was recently seen at Playwright's Horizons. If television shows are, very recently, being given more creative freedom, it's not as if they are somehow doing so by way of deep experimentation.
The Sopranos is a perfect example: it is absolutely derivative of an already popular pop culture staple. It just happens to add layers to the Mafia stock characters that are unavailable to a two-to-three hour film. It's excellent, but it's not groundbreaking. Lost (one of my favorite shows) is a combination of existing and popular elements, and was pitched to the networks as a fiction version of Survivor. The Simpsons is hilarous (though not as good as it was years ago, by far) but it's just a very funny family comedy. It's wonderful, but it's not exactly the TV version of Marat/Sade.
Development is not unique to the stage, by any means. If there are things on stage we don't like to see, let's get some perspective: it's not because of readings.
What I'm hearing sounds something like this:
People in the theatre are pretentious snobs who write by candlelight, even though the rest of us are using lightbulbs. If you go to see a Broadway show, you're going to see a cheap, Circus-like knock-off of a movie or you're going to see a play that sounds like they had to blow the dust off of it before they put it on stage.
I'm also hearing, out there:
Theatre is high art, a landscape for the mind, a sort of spiritual happening that is ceaselessly compromised by the desires of the revolting marketplace and its progeny.
What I'm thinking:
Stereotypes.
The idea that playwrights sit in their Ivory Towers and write distantly dull museum pieces is an idea that can only be held by someone who hasn't seen very much new theatre, and is equating a few lousy productions (or productions that weren't their taste) to the entire theatrical community. Saying "Playwrights aren't good because I don't like Richard Greenberg" is inoffensive, but it's almost precisely the same logic that says "I don't like guys in frats because I frat guy once hit on my girlfriend" or "Blondes are stupid. I knew a stupid blonde woman once."
Note in the Salon article that Birkenhead (who is this guy again) says that if you want to know what theatre is like, take a look at Three Days of Rain. He says Angels in America and Doubt are pretty good, but MAN... A Fair Country isn't his thing. Excuse me?
Essentially, it's picking out examples of bad tendencies and applying them to a whole. There are tons of people out there with very cool music on their iPods making punk rock theater that deserves to me seen. It's reductive to paint plays and playwrights with a "you guys are out of touch" brush.
That is NOT to say that many of us who are banging away on the country's stages aren't guilty, often, of similar thinking. Other mediums, because of their popularity and commercial aptitudes, are dismissed as somehow inherently corrupt. American Idol does not equal the The Sopranos does not equal Veronica Mars does not equal Fox News. Just as Mary Poppins does not equal Long Days Journey Into Night.
There is a seduction is sequestering ourselves and attacking others. Film, television and theater seem like natural rivals, in some ways. They certainly act that way. That's, though, the thinking of children. There's no need for three different mediums to compete. They can learn, acknowledge, grow, exchange. They can simply be themselves.
As a playwright, I don't have to compete with The Sopranos. I have contend with the stereotypes that my work is obscure, or high-brow or "not for people who watch TV." That, my friends, is a far tougher opponent than David Chase.
Let me say one last thing.
I'm no huge fan of development, but the argument that development is the reason that TV has be allowed to be creative and theater is stuck in 1918...that's patently absurd. In fact, I can say without reservation that the average television show and is approved of, tinkered with, rehashed and developed by far more paid executives and marketing gurus than any play that was recently seen at Playwright's Horizons. If television shows are, very recently, being given more creative freedom, it's not as if they are somehow doing so by way of deep experimentation.
The Sopranos is a perfect example: it is absolutely derivative of an already popular pop culture staple. It just happens to add layers to the Mafia stock characters that are unavailable to a two-to-three hour film. It's excellent, but it's not groundbreaking. Lost (one of my favorite shows) is a combination of existing and popular elements, and was pitched to the networks as a fiction version of Survivor. The Simpsons is hilarous (though not as good as it was years ago, by far) but it's just a very funny family comedy. It's wonderful, but it's not exactly the TV version of Marat/Sade.
Development is not unique to the stage, by any means. If there are things on stage we don't like to see, let's get some perspective: it's not because of readings.
Tonys
Hey there! I didn't watch them! I was busy getting drunk! Seeing old friends! Being happy!
If you want to talk about the Tonys, I'm certain there are lots of places to do so.
If you, like me, didn't watch the Tonys...why didn't you? Do you have an aversion to them? Were you watching the Sopranos? What's your excuse?
If you want to talk about the Tonys, I'm certain there are lots of places to do so.
If you, like me, didn't watch the Tonys...why didn't you? Do you have an aversion to them? Were you watching the Sopranos? What's your excuse?
Friday, June 08, 2007
Pretentious Festival Shill for Friday
Interview with the Author has two more performances. Tickets can be purchased online at the link below or the link in my sidebar.
Sunday 6/10 at 6:30pm
Friday 6/15 at 7:00pm
Nytheatre.com praises the piece here.
James Comtois and Mark Armstrong also posted their commendations and thoughts, for which I'm very grateful.
Come check it out!
UPDATE: Thanks also to Johnna and Cat*!
Sunday 6/10 at 6:30pm
Friday 6/15 at 7:00pm
Nytheatre.com praises the piece here.
James Comtois and Mark Armstrong also posted their commendations and thoughts, for which I'm very grateful.
Come check it out!
UPDATE: Thanks also to Johnna and Cat*!
Thursday, June 07, 2007
Martin Denton on Neil LaBute
Take a look at the nytheatre i for Martin Denton's brief posting. The story is Neil LaBute's claim that, if casting is truly color blind, then white actors should have access to "roles of color."
I'm not sure if LaBute is aware of the very long tradition of Othello being played by various white stars. Claims of "reverse racism" in our society are toothless. They ignore long-standing systemic inequities in favor of a few choice desires on the part of the powerful.
I'm not sure if LaBute is aware of the very long tradition of Othello being played by various white stars. Claims of "reverse racism" in our society are toothless. They ignore long-standing systemic inequities in favor of a few choice desires on the part of the powerful.
Wednesday, June 06, 2007
Rinde Eckert's "Horizon"
I got opportunity to go check out Rinde Eckert's "Horizon" last night at the New York Theater Workshop, which I can recommend without reservation. I don't usually feel comfortable using this blog as a forum for reviews, so I'll eschew that format. The performers, songs, direction will all get professional reviews all over the place. In fact, I'm relatively certain Ben Brantley just said some very nice things over at the New York Times.
To start with, the whole evening was worth the allegorical story of the paper flower. You'll see.
What I found most compelling about the evening was that it portrays a Christian scholar as a formidable intellectual. In the current cultural climate, the political right has inspired a sort of rubbernecking instinct when it comes to public Christian 'representatives.' It goes without saying that the tradition of religious scholarship has taken a bit of a beating in both the press and in the political realm. Hackneyed phrases such as "I look to my faith" are so pat from politicians (on both sides of the aisle) that they've taken on the tone of placation. The idea, for example, that the parables and allegories in the Bible still have some heft, some ethical power, is a rather stunning one to see on the New York stage.
"Horizon," in this climate, would seem to be political. It isn't. It is concerned only, it appears, with humankind and its resistance to, or misunderstanding of, its own search for underlying meanings. Christianity here is beside the point, in a manner of speaking. More to the point is the desire for a religious human being to embrace reason, and to seek to inspire reason in others. It speaks to a large tradition and contigent of religious people who use their faith to find understanding, as opposed to using faith to dispel their responsiblity as seekers and thinkers.
To start with, the whole evening was worth the allegorical story of the paper flower. You'll see.
What I found most compelling about the evening was that it portrays a Christian scholar as a formidable intellectual. In the current cultural climate, the political right has inspired a sort of rubbernecking instinct when it comes to public Christian 'representatives.' It goes without saying that the tradition of religious scholarship has taken a bit of a beating in both the press and in the political realm. Hackneyed phrases such as "I look to my faith" are so pat from politicians (on both sides of the aisle) that they've taken on the tone of placation. The idea, for example, that the parables and allegories in the Bible still have some heft, some ethical power, is a rather stunning one to see on the New York stage.
"Horizon," in this climate, would seem to be political. It isn't. It is concerned only, it appears, with humankind and its resistance to, or misunderstanding of, its own search for underlying meanings. Christianity here is beside the point, in a manner of speaking. More to the point is the desire for a religious human being to embrace reason, and to seek to inspire reason in others. It speaks to a large tradition and contigent of religious people who use their faith to find understanding, as opposed to using faith to dispel their responsiblity as seekers and thinkers.
Interview with Kirk Wood Bromley
Check it out. See what he has to say about Moliere. That's begging for a fun discussion.
Tuesday, June 05, 2007
Barker Wrestles the Olympics
His words about it and the posts thereafter are a fantastic read. Especially for those of us living in a country where public funding is already a battle we barely fight.
Discount Code for "Horizon" at NYTW
Hey crew... this is a Discount Code for Tickets to "Horizon" at the New York Theater Workshop.
Thanks to NYTW for giving us the heads up!
Promotion! It benefits the consumer! Occasionally! Like now!
Tickets for all performances June 1 - July 1 are just $35 each (reg. $50).
Use code HZ4TTRE when ordering.
To purchase tickets, call TeleCharge at (212) 947-8844 or visit
http://www.broadwayoffers.com/go.aspx?MD=2001&MC=HZ4TTRE
New York Theatre Workshop also offers both Student Tickets and CheapTix Sundays.
CheapTix Sundays: All tickets for all Sunday evening performances at 7pm are just $20 each! Tickets are available in advance but must be purchased at the NYTW box office on a cash-only basis.
Student Tickets: Full-time students with a valid student ID may purchase $20 tickets for all performances (subject to availability). Limit one ticket per ID. Tickets must be purchased in person and require an ID at the box office.
The NYTW box office is located at 79 East 4th Street (between Second Avenue and Bowery) and is open Tuesday - Saturday from 1pm - 6pm.
Thanks to NYTW for giving us the heads up!
Promotion! It benefits the consumer! Occasionally! Like now!
______
Tickets for all performances June 1 - July 1 are just $35 each (reg. $50).
Use code HZ4TTRE when ordering.
To purchase tickets, call TeleCharge at (212) 947-8844 or visit
http://www.broadwayoffers.com/go.aspx?MD=2001&MC=HZ4TTRE
New York Theatre Workshop also offers both Student Tickets and CheapTix Sundays.
CheapTix Sundays: All tickets for all Sunday evening performances at 7pm are just $20 each! Tickets are available in advance but must be purchased at the NYTW box office on a cash-only basis.
Student Tickets: Full-time students with a valid student ID may purchase $20 tickets for all performances (subject to availability). Limit one ticket per ID. Tickets must be purchased in person and require an ID at the box office.
The NYTW box office is located at 79 East 4th Street (between Second Avenue and Bowery) and is open Tuesday - Saturday from 1pm - 6pm.
Monday, June 04, 2007
John Walsh on Jeopardy!
One of my favorite people, John Walsh, was on Jeopardy tonight and won! He's on tomorrow night as well. Everyone tune in to cheer him on.
I met John as a part of Gorilla Repertory Theater back in 2000. One of the straight up nicest guys that I met in the city, a great writer and a lover of Shakespeare. When I played Flute in Washington Square Park, John was Bottom.
Go Johnny!
For a better look at this fine gentleman and his distinguished career...see below!
I met John as a part of Gorilla Repertory Theater back in 2000. One of the straight up nicest guys that I met in the city, a great writer and a lover of Shakespeare. When I played Flute in Washington Square Park, John was Bottom.
Go Johnny!
For a better look at this fine gentleman and his distinguished career...see below!
Blogging, Interviewing, Drinking
That's what I did on Sunday.
The Impending Theatrical Blogging Event...happened. You can read about what happened here.
An Interview with the Author opened yesterday as well. Seems to have gone well, judging by the general responses. Thanks to all who attended, and I look forward to seeing the rest of you there. Yes, the rest. All of you. The entire internet.
The Impending Theatrical Blogging Event...happened. You can read about what happened here.
An Interview with the Author opened yesterday as well. Seems to have gone well, judging by the general responses. Thanks to all who attended, and I look forward to seeing the rest of you there. Yes, the rest. All of you. The entire internet.
Friday, June 01, 2007
Friday Random Shill
Yes, I am continuing to use this space for shilling my work. What do you expect? Journalistic integrity? If you'd like to read a discussion, you could try here.
1) Interview with the Author opens on Sunday June 3rd at 5:15pm. This is a part of the Pretentious Festival. It features yours truly interviewing yours truly about my Art with a capital "A." You will be completely floored by how important I am. Look here if you doubt me.
To buy tickets and/or check the schedule, go to the Brick Theater's webpage and scroll down to the lovely picture of me. The tickets are $10.
2) The Impending Theatrical Blogging Event is on Sunday, June 3rd at 9pm.
Yes, you could simply read all of our blogs and this central blog live as it happens... but then you'd be just doing what you clearly do anyway. Which is reading blogs from somewhere comfortable or, more likely, from work. Instead, come out and see the bleary-eyed bloggers in the flesh.
Think of it this way: If you are reading these very words, you are the core audience for this one-night only performance. Think of it as, um, a happening. Of non-happening. Think of it as watching people participate in a silent conversation, in fake space, while you watch. I mean seriously, how could you pass that up?
3) The Sophisticates. If you're a reader of blogs, check out the reading of John Devore's new play. I've read a draft of it and it made me want to pee. With joy. Read more ringing endorsements of it here.
1) Interview with the Author opens on Sunday June 3rd at 5:15pm. This is a part of the Pretentious Festival. It features yours truly interviewing yours truly about my Art with a capital "A." You will be completely floored by how important I am. Look here if you doubt me.
To buy tickets and/or check the schedule, go to the Brick Theater's webpage and scroll down to the lovely picture of me. The tickets are $10.
2) The Impending Theatrical Blogging Event is on Sunday, June 3rd at 9pm.
Yes, you could simply read all of our blogs and this central blog live as it happens... but then you'd be just doing what you clearly do anyway. Which is reading blogs from somewhere comfortable or, more likely, from work. Instead, come out and see the bleary-eyed bloggers in the flesh.
Think of it this way: If you are reading these very words, you are the core audience for this one-night only performance. Think of it as, um, a happening. Of non-happening. Think of it as watching people participate in a silent conversation, in fake space, while you watch. I mean seriously, how could you pass that up?
3) The Sophisticates. If you're a reader of blogs, check out the reading of John Devore's new play. I've read a draft of it and it made me want to pee. With joy. Read more ringing endorsements of it here.
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