Marsha Norman blogs about August. If you haven’t seen the play, don’t read her post. But she mentions something very interesting:
“…Finally, at least for this go-round, I like what this play represents: a life-long association of a writer with a group of actors and a theater. This is why Shakespeare wrote so much, he had a whole gang of actors waiting to do his work. Go down the list — the writers who wrote a lot of wonderful plays were always associated with a community of actors they could write for: Shepard, Chekhov, Brian Friel, Alan Ackbourne [sic], David Mamet, Lanford Wilson, Caryl Churchill, Richard Foreman, Wendy Wasserstein. Playwrights who live apart from theaters and actors have a lot of trouble getting their work done. Playwrights need to be around actors, need to be a part of a theater’s life…”
We were recently thinking about this - a playwright’s association with “a group of actors”. It would be wonderful to structure the fellowship so that the same group of actors could work with our fellow on his/her play for the course of the fellowship year. Of course, we’d work around the actors’ schedules - but wouldn’t it be exciting to creating some type of acting company? (Obviously, we’d only set this up if the fellow wanted it.) I think about Elliot, A Soldier’s Fugue and how in the rehearsal room the roles in that play became so indelibly associated with those actors, their speech patterns, their postures.
We’re hosting a benefit at In The Heights this evening. We’re having a little soiree at Angus McIndoe prior to the show. Naturally, we’re stressed out. Are people going to show up? Will there be enough food, etc.? Will people like each other? Party-planning is always so stressful.
The readings happened. I think everyone (Tommy and Andy) was happy with them. We really lucked out with the casts for the readings. Mia Barron, Adam Dannheisser, Barrett Doss, Mary Jane Gibson, John Rolle and Brian Hutcheson were in The Wife. Michael Chernus, Zabby Guevara, Dick Latessa, Marsha Mason, Paul O’Brien and Brenda Wehle were in Mother Earth. Thank you, Zoe Rotter (for The Wife) and Daniel Swee (for Mother Earth). We really do think that casting directors are lifesavers.
We’re working with Zoe again on a second reading of The Wife. The reading is going to be probably in the second week of March. Tommy and May (Adrales) have asked that the cast meet for a couple of hours of rehearsal in the morning; they’re then going to present a reading to a very small invited audience in the afternoon. Tommy wants to gauge initial audience reaction. The play is dark dark dark. It’s quiet and funny at first (after the first reading, one of the actors emailed us to tell us that she thought the play was “Pinter-esque”). But then it takes a turn and becomes fairly dark. (By the way, the blurry camera photo on the left shows Tommy’s back, May’s profile and Barrett in mid-reading.)
Of course, we’re still hoping that Renee Zellwegger agrees to star in it when it’s produced on Broadway.
By the way, this totally depressed us. The first few paragraphs reminded us of that profile in the Arts & Leisure section of The New York Times about struggling artists in the New York City Off-Off-Broadway scene. Nothing like a good cheer-me-up on a gloomy February afternoon.
I am a regular collaborator with Reggie Watts on experimental theatrical/filmic ventures. In this clip, Reggie plays for a fundraiser for New York Theatre Review 2008. I appear briefly at the start. This was in October 2007. (Oh yeah, and the 2008 NYTR comes out in Spring, edited by the unstoppable Brook Stowe, featuring a ton of great essays and plays, including my own WHITE HOT and an interview I did with Reggie about our UTR piece DISINFORMATION.)
Jason Grote takes on new play development/production. Again. His blog entry is fascinating and I agree with him on many points. I just don’t have the time, right now, to write a thoughtful response. But I agree. And share his frustrations.
I’ve been hearing that non-profit theater is entering another “New Play” craze. Theaters around the country are chomping at the bit to get in on the action (and limited funding). At least, that’s what we’ve been told. I don’t know if I believe it, though. But there do seem to be a lot of new play opportunities (e.g., lab development programs, playwriting fellowship, etc.). But, like in the business world, everything in the theater is cyclical. Let’s see how long this trend lasts. (I’m waiting for the largest non-profit in the country to get in on the game now. Won’t be long, I’m sure.)
I’m developing Georges Bataille’s “Story of the Eye” (1928) into an operatic play. Here is Chapter One.
Linguistically, the book is kind of a dare: Bataille keeps pushing offensive images in front of the reader to make him/her squirm. By reading it aloud, I’m trying to overcome my knee-jerk squeamishness to access the deeper themes running through the material.
Warning: VERY graphic language/situations/symbology.
Blogging is tough. It requires dedication and time. And, lately, we’ve been short on time. In addition to board meetings and grant writing, we’ve been casting two readings. Readings baffle us. Producing a reading is a pain, but casting a reading is the worst.
We’ve come up with a haiku, celebrating the hard work and tenacity of the two casting directors who have been working on these readings (The Wife by Tommy Smith, directed by May Adrales; Mother Earth by Andy Bragen, directed by Jackson Gay). Really, the following haiku is dedicated to all casting directors who, as far as we’re concerned, are the unsung heroes of this business:
Angie, Gwyneth, Reese,
Emma, Meryl, Cate and Madge —
They do theater, no?
Some theater sites (this one and this one) have picked up the news about Tommy, which is nice (even our favorite picked it up). And this one. Just kidding. One day maybe. A girl can dream.
Like any good citizen, each morning, we spend the first thirty minutes of our day reading the newspaper and trolling the Internets for some entertaining blog postings relating to the Theatah. Some of our favorite posts often appear on the craigslist of the theater community, Talkinbroadway.com, where theater’s number one fans ask the really hard questions (”Who’s going to direct the film version of Follies?” “Was Kristen Chenoweth really wearing hair extensions at the Kennedy Center Awards?” “Whose Mama Rose is better? Patti’s? Or Bernadette’s?”).
We sometimes come across rare TQ gems. This morning, a poster wrote an impassioned inquiry about the climactic scene in Hello, Dolly!
“Both Jerry Herman and Carol Channing talked with great reverence about the title number in Hello, Dolly! Apparently it is the moment that Dolly decides to rejoin the human race.
Am I totally missing something? She seems like a pretty lively presence from the first moment we lay eyes on her, and no one would ever guess that she isn’t living life to the fullest. I would never describe the character of Dolly Levi as someone who was hiding from life…”
Apparently, Harold Bloom made a mistake when he forgot to include Hello, Dolly! in The Western Canon.
Apparently, Harold Bloom made a mistake when he forgot to include Hello, Dolly! in The Western Canon.