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What can we learn from the birth of the regional theatre movement? Which arts administrator has reached a mass-critical critical mass? Where did Verdi and Shakespeare work to support their writing habits? How many theatres are we going to have to occupy? Why do we call it play? These are...
- November 18, 2011
Over the weekend, @NewPlayTV streamed three interesting, presumably unrelated talks. The first was from Steppenwolf’s First Look Festival, titled How to engage 21st Century Audiences for New Plays, followed an hour later by one from the PlayFest at Orlando Shakespeare Theater on How to Make a Living as a Playwright?...
- November 9, 2011
- 6
Orion as a cop on the mean streets of 1970s San Francisco. Hera as the lady of a country estate in Victorian England. Chronus as an Arizona Republican politician debating whether to align himself with the Tea Party. These are some of the dozens of creative reinterpretations of Greek mythology...
- November 2, 2011
- 1
When Jim Leonard was an English major at Hanover College in the late seventies, where I was running a one man theatre department, he responded to a request I issued for “extras” to swell a scene in a play I was staging. He had one line and seemed to be...
- October 2, 2011
“There are still many more days of failure ahead, whole seasons of failure, things will go terribly wrong, you will have huge disappointments, but you have to prepare for that, you have to expect it and be resolute and follow your own path.” ― Anton Chekhov Over nearly twenty years...
- September 30, 2011
- 15
Previously in this column: The members of Bright Alchemy Theatre, a very young devised theatre company based in Washington, DC, have spent the last nine months working on its new project which began with the question: Why do we as a species feel the need to tell stories about our...
- September 19, 2011
- 1