Let me throw a few names around: Eugene O’Neill, George S. Kaufman, Elmer Rice, Maxwell Anderson, Robert E. Sherwood, Susan Glaspell. What do they have in common? They all got their playwriting chops at local, community-run Little Theatres.
While New York’s Theatre Syndicate were touring lots of money-making shows that were fresh hits on Broadway, these playwrights were able to make their mark in theatre history. These people found… Continue reading
In a nutshell, and nutshells work just fine for me, a site-specific performance of any kind—be it performance art called Happenings (1950s-60s) or flash mobs (2000s), or Stephan Koplowitz’s beautiful compositions that show dance at its most dynamic, or Punchdrunk’s production of Sleep No More—is a dynamic production that takes place, not in a conventional theatre, but at a location that has in some way inspired that production. It means… Continue reading
Theatre is and it isn’t globalized. And it is and it isn’t all economics and trade. (See “Theatre globalized.”) Mostly through touring and immigration, forced or chosen, cultures from different parts of the world began to have a real impact on other cultures it came in contact with it. There have been migrations, like the massive ones to America at the end of the nineteenth century that brought people… Continue reading
I have been thinking about how some of us think that art, and therefore theatre, has changed with digital technology. We have heard that any of us who can access a computer and the internet can become content producers and artists in our own right. This is true, even though most of the videos my friends send me are meant to be cute and entertaining and morale boosting, but I… Continue reading
One of the things that set my teeth on edge, back when we technical writers copy-edited each other’s work, was when I came upon “utilize.” It was a perfectly good word when it meant making a thing do what it wasn’t originally meant to do: “I utilized the washtub as a temporary raft in the flooding backyard.” But not “I utilized the rowboat to row to the other side of… Continue reading
My community theatre is where I am thriving. After too many years trying to make a living away from theatre, now that I am retired, I’m back with a vengeance to make up for lost time. I found just the place to do it: community theatre. I act, direct, and write. What more could I ask for? And I get plenty of support and encouragement from everyone there.
Community… Continue reading
Where have I been these many months, away from taking care of business here?
Would you believe:
- Acting in a chamber theater version of The Importance of Being Earnest (Miss Prism)
- Staging a Readers Theater version of selected works by an important American author, which involved writing narrative to hold the pieces together, acting as the narrator
I just saw something you don’t see every day: the first production of a new play.
I went to SCAD (Savannah College of Art and Design) last weekend to see my niece in a play, Lovers & Players, written by Kathryn Walat, who is on the faculty and who is an established playwright… Continue reading
Yes, all right, I did it. I messed up badly. Sometimes stage managers get it wrong.
I don’t feel bad, though. Maybe a little embarrassed and afraid to meet the leading lady’s forgiving gaze. She is a trouper and she likes me and I like her and we have mutual respect for each other. But I messed up and she could very well have gone under the bus. But… Continue reading
When the ruling theater members keep telling me to stop wanting things done “professionally” because this is community theater, not professional theatre.
When I tried to bring a professional outlook to the production my community theater is doing, several people told me to forget it, that “this is community theater!” Notice, the “just” is left out, but just community theater is what they mean. Just community theater becomes the… Continue reading