Here in Vancouver, as a theatre producer, one of your greatest challenges is simply finding space. We have two major theatre companies, The Vancouver Playhouse and the Arts Club, that own their own theatres, but other than that, the 100-or-so independent theatre companies in the city all are fighting for...
It’s been a month since the first Dramatists Guild National Conference. In that month, three things have stayed with me: Mame Hunt’s declaration to playwrights to stop writing realism, Julia Jordan’s keynote speech on gender parity, and Marsha Norman’s comment that we need to hear everyone’s stories at the gender...
I’m live-blogging the first-ever Dramatists Guild conference. Please feel free to log on and either lurk or join the conversation. If there are opportunities for questions, and you submit any, I’ll try to sneak them in. I may also be tweeting from time to time if you’d rather follow along...
Previously in this column: Bright Alchemy Theatre, a very young company devoted to the creation of devised work, decides to begin work on a narrative and thematic sequel to A Cre@tion Story for Naomi, which explored the world’s creation myths. We began this new process with a question: Why do...
It’s time for this week’s installment of the director-to-director interview series. If you haven’t already done so, you can join our Twitter conversation on directing by following the hashtag #2amdir. Also, The Director’s Library I’ve been compiling from these interviews will be getting its own page, which I will update...
So, here we are. Week two and hip-deep in the initial group dramaturgy of Bright Alchemy’s devising process, which started with the question “Why do we as a species feel compelled to tell stories of our own destruction?” It’s very early, but I’m already beginning to get that familiar feeling...
Wherein I blog Bright Alchemy’s devising process for its newest project. My living room is full of artists eating baked goods and mainlining coffee. The latter is not surprising, since it’s 10:30 A.M. on a Sunday. What is surprising is that a dozen theatre-makers chose to subject themselves to this...
Tom Robinson (Peter Macon), Atticus Finch (Mark Murphey) and Heck Tate (Peter Frechette) in the Oregon Shakespeare Festival’s To Kill a Mockingbird. Photo: David Cooper. Ashland’s a snowy, somewhat icy town this weekend for the opening weekend of the Oregon Shakespeare Festival. First up last night was the Bill Rauch-directed...
Prepping a Shakespeare text for performance requires careful negotiation from the outset. As a director and voice and text consultant on productions, I work wearing a couple of dramaturgical hats. I’m mindful, firstly, of the practical aspects surrounding the task: proposed running time, budgetary constraints, cast size and casting choices...
