Monday, January 31, 2011

Theater News

Too many Theaters?  Who says?


Well, Rocco Landesman, the chairman of the National Endowment for the Arts thinks so.  The Producer who brought "Angels in America" and "The Producers" to Broadway, has the theater blogosphere ranting with his comments about supply and demand of theaters.  Speaking at a conference about new play development at Arena Stage in Washington, he said: "You can either increase demand or decrease supply.  Demand is not going to increase, so it is time to think about decreasing supply."  He then defends his comments in a telephone interview with Robin Pogrebin.  "There is a disconnect that has to be taken seriously - our research shows that attendance has been decreasing while the number of the organizations have been proliferating," he said.  "That's a discussion nobody wants to have."

Surprising words coming from the head of the organization with such an extensive background in theater.

Here are some opinions:


“How sad that Darwinian capitalism has become the lens through which the NEA now appraises the value of theater in America.” — Mark, New York

“Rocco needs to think through things a bit more before making controversial statements that don’t stand up to the facts. Can too many high school youth see excellent productions of ‘Romeo and Juliet’? How many high school youth in the United States are too many? Nope, Rocco got this one wrong. There is ever-increasing demand; he’s just looking in the wrong pockets.” — BD, Los Angeles
“His comments will feed the forces looking to cut government spending, and they aren’t just looking at various art disciplines — they want to cut out the NEA and NEH altogether.” — dcb in nyc, New York


Others thought Mr. Landesman's comments were rooted in reality:

“There are certain areas of the country that couldn’t care less about having a professional theater in their midst, yet the instigators of these well-meaning institutions bravely stand their ground, tighten their belts, and try every trick in the book, even resorting to occasionally booking commercial tripe, in an effort to survive. If a community doesn’t support their own theater, there’s your answer, they don’t want it. Close it; try elsewhere.” — Will MacAdam, Manhattan
“He’s right. Too many theaters exist simply for the sake of existence. It’s not about doing theater; it’s about getting funding. . . . Never mind whether anyone actually wants to see it or whether it’s any good. The important thing is just to stay in business.” — Mick Smith, New York


Personally, I think it is ridiculous.  I have to agree with BD from Los Angeles when they said "there is an ever-increasing demand, he's just looking in the wrong pockets".  In today's economy not everyone can run and see a show for 60-80$'s.  So some of the smaller, experimental theaters are bringing in crowds for 10-20$'s.  I personal love seeing artsy shows in small intimate spaces.  It gives freedoms to the ones creating, and isn't that what its about?  With art cuts in the schools, where else can young people see and create art?  Boo on you Mr. Landesman.





Friday, January 28, 2011

Theater News

Theater in your bathtub?


I've got to tell you, this is cool.  Work nights and, wish you could make it to a show?  Now you don't have to miss out.  Theater organization, Fuel, launched Everyday Moments a series of 12 free podcasts available once a month to be listened to at a specific time and place.  The first podcast features Kazuko Hohki's The Hole, which is designed to be listened to while lying in the bath in the evening; later in the year you will be able to invite Adrian Howells into your bed, do the housework with John Hegley or stand on a bridge at midnight to listen to a piece by Inua Ellams.




Everyday Moments is an imaginative way for artists to reach an audience without having to rent a space and wait for people to show up.  With all the technology within our reach, this is a powerful way to reach those hungry for  the arts without many opportunities to satisfy.  I find it fascinating that this technology has only been used as a marketing tool and not as a new way to create art until now.


Unfortunately I don't have a bathtub, I know, sad right!  But I will be checking this out, you should too, tell me what you think?  Innovative, or not?


Click here to download the podcast



Saturday, January 22, 2011

Theater News


Costumer Theoni V. Aldredge Dies at 78

Her brilliant works have been adored from stage to screen.  Academy Award winner for her design in "The Great Gatsby", and three time Tony Award winner for "Annie", "Barnum" and "La Cage aux Folles".  Over the course of her career she created the wardrobes for more than 300 film and stage productions, including the original productions of "Dreamgirls" "42nd Street," and "A Chorus Line," as well as the Arthur Laurents–directed 1989 revival of "Gypsy,"



















Friday, January 21, 2011

Playwright Pick

Rick Robinson



A graduate of the U.C. Davis drama department, Rick's plays were twice selected to be a part of the Undergraduate Playwright's Festival, an annual showcase of the school's three top plays and he twice represented Davis at the U.C. intercollegiate arts festival.

Now, after a successful scholastic run, Rick Robinson is an award-winning Los Angeles area playwright and director.  The six plays he has penned deal with the social down-sides and benefits of the Internet, the common absurdity of office politics, and the dehumanizing effect of big business.  His dramas are raw and his tragedies balance with comedy, all differing in tone, with a united theme: the human struggle to find lasting emotional connections.

Rick's plays have been selected to be a part of the Los Angeles Edge of the World Festival five times and his plays have received four Backstage West critic's picks (/Asymmetry/, /i r l (in real life/), /School of Jesus Fish/, /SAP/), two L.A. weekly 'go' picks (/Asymmetry/, /Spare Parts & Cynic/) and one L.A. times recommended pick (/Asymmetry/).



Thursday, January 20, 2011

L.A. SHOW INFO


Accomplice



Synopsis
Part game and part theater, Neil Patrick Harris presents Accomplice: Hollywood, an experience unlike any found on a stage, taking its audience on an actual journey through the city streets. It all begins with a phone call disclosing a secret meeting location. Armed with a few initial bits of information, participants are sent on a mission, aided by clues and mysterious cast members strewn throughout various locations such as streetcorners, bars, iconic landmarks and out of the way spots. Audiences in groups of 10 traverse the city streets, piecing together clues of a meticulously crafted plot and relying on their own street smarts to make it to the end.
The Accomplice sites, naturally, are kept secret - it's all part of the fun. "Not enough information," you say? Trust us--the fun is in the surprises.
Who's in on it? Who's not? A unique new form of entertainment, Accomplice: Hollywood will make you laugh, think, and experience the city in a whole new way.



Amy and Elliot 

Stella Adler Theatre
6773 Hollywood Blvd.
Hollywood, CA 90028

Currently running!
Closes on January 30, 2011
Opened on January 6, 2011

Ticket Price: $20.00; $10.00 Preview 

Tickets by Phone: 323-960-7863

Synopsis
Back in the 1990's, Elliot's best friend Amy is marrying a guy named Michael. Elliot's freaking out. Which in turn makes Amy freak out. Which in turn makes Michael freak out...Ok, so everybody's freaking out. Amy and Elliot is a quick-witted, quirky romantic comedy about growing up as a Generation X'er. Are Amy and Elliot just best friends or something more? Could they really have feelings for each other, or is it just another distraction--an excuse to avoid growing up? Amy and Elliot attempts to tackle the big questions of a very confused generation.


Caught 

Zephyr Theatre
7458 Melrose Ave.
Hollywood, CA 90046

Currently running!
Closes on January 23, 2011
Opened on November 27, 2010

Ticket Price: $25.00; $20.00 Preview 

Tickets by Phone: 800-595-4849

 Synopsis
Over the past several years, the debate over same-sex marriage has split the country, deeply divided religious communities, and galvanized American politics.Caught is a contemporary play which examines this contentious debate through the life of one American family. The story centers around the upcoming wedding of Kenneth and Troy, a committed gay couple living in Los Angeles. Kenneth's estranged, culturally-conservative sister, Darlene, and her daughter Krystal unexpectedly visit the couple's home from south Georgia only days before the event. Through this set of circumstances, Caught explores the meaning of 'marriage,' and how the family can find a way to meet in the middle while navigating long-standing religious values and staying true to each's core beliefs.

Wednesday, January 19, 2011

N.Y.C. SHOW INFO

Blood From a Stone 
    Acorn Theater
    410 West 42nd St.
    New York, NY 10036
    Currently running!
    Closes on February 19, 2011
    Opened on January 12, 2011
    Ticket Price: $61.25 
    Tickets by Phone: 212-239-6200
    800-432-7250



Synopsis
An electric and darkly comic portrayal of a troubled working-class family in New Britain, CT. Travis visits his parents home to check on his brother Matt and his mother, only to find himself sucked into intractable conflicts, and a whole household on the verge of implosion. Blood From A Stone is a stunning and shattering debut by Tommy Nohilly. Starring Ethan Hawke, Nasasha Lyonne, and Daphne Rubin-Vega.


Three Sisters

    Classic Stage Company
    136 East 13th Street
    New York, NY 10003
    Now in Previews
    Show Opens:
    February 3, 2011
    Show Closes:
    March 6, 2011
    Ticket Price: $75.00 Weekday; $80.00 Weekend 
    Tickets by Phone: 212-352-3101
    866-811-4111


Synopsis
CSC reunites much of the cast and creative team from their acclaimed 2009 production of Uncle Vanya, this time in Three Sisters, Anton Chekhov's masterpiece of thwarted dreams. The exemplary cast includes Maggie Gyllenhaal (Masha), Josh Hamilton (Andre) 2010 Tony Award nominee Jessica Hecht (Olga) and acclaimed actor Peter Sarsgaard (Vershinin) among others. Austin Pendleton again directs.


The Misanthrope


    New York City Center - Stage II
    131 West 55th Street
    New York, NY 10036
    Now in Previews
    Show Opens:
    January 23, 2011
    Show Closes:
    February 20, 2011
    Ticket Price: Full Price $55.00 Preview Discount: $35.00 Weekday discount: $45.00 
    Tickets by Phone: 212-581-1212

Synopsis
What's worse than being the only (self-proclaimed) honest man in a world of liars, gossips, and fools? Being head-over-heels in love with the chief offender among them. The Misanthrope follows the hilariously thorny love-life of the irascible Alceste and the coquettish Célimène, who put the concept of "opposites attract" to the ultimate test. Richard Wilbur's masterful translation of Molière's wryly personal comedy begs the question--can love really be this blind?

Tuesday, January 18, 2011

Play Time

A Common Vision
by Neena Beber
3m, 3f

Six lives collide around a transcendent vision in a night sky.  Dolores' private anguish becomes a matter of public debate when a respected psychologist convinces her she was abducted by aliens.  And to think she got dumped by some guy.  A Common Vision chronicles Dolores' journey when her personal crisis of faith and dovetails with a larger cultural phenomenon.

This play does a fine job of depicting ones perception of the same event.  Just when we think life couldn't be more complex, throw a possible alien abduction in the mix and your sure to need on-going therapy.  The characters in this play are driven by the need for love, and who can't relate that.  Love lost, and in desperation Dolores will cling on to anything to explain her feelings of disorder.

Neena Beber leaves a lot of room for the directors individual vision.  Her transitions of dialogue between characters had my mind in over-drive fantasizing lighting and set.  An enjoyable challenge for any director and a splendid simple, truthful give and take amongst the characters.

"The common vision Dolores, her therapist and witnesses share turns out to be as provocative as it is unreliable.  And that's what makes part of Beber's vision so uncommonly rewarding."
-Robert Hurwitt, San Francisco Examiner


Saturday, January 15, 2011

Show Info

LOS ANGELES


The Break of Noon
Geffen Playhouse
10886 Le Conte Avenue
Los Angeles, CA 90024


Show Opens:

January 25, 2011
Show Closes:
March 6, 2011

Tickets by Phone 310-208-8383

www.geffenplayhouse.com


Synopsis

Playwright and provocateur Neil LaBute's newest play takes off from George Bernard Shaw's quote: "All truths begin as blasphemies." And then we meet John Smith. He's a selfish, philandering liar - or at least he was. After hearing the voice of God during a tragic office shooting, this imperfect man reforms himself and goes on a mission to spread the word about a better way of life. But is Joe's divine encounter merely a ploy for celebrity, a chance to escape his rocky past, or is it part of an infinite and almighty plan? In The Break of Noon, LaBute explores the trials and tribulations of a modern day prophet - and what he signifies in a jaded world that is thousands of years removed from burning bushes and stone tablets.


 Love, Sex, and the I.R.S.
Complex-Dorie Theatre
6476 Santa Monica Boulevard
Santa Monica, CA 90038

Ticket Price: $15.00 - $20.00 

Currently running!
Closes on January 30, 2011

Synopsis
Jon and Leslie (both men) have been roommates for years. To save money, Jon has filed tax returns listing the pair as married, with Leslie as his wife. Too bad the I.R.S. informs the "couple" they're going to be investigated by their agent, Mr. Spinner!
Jon convinces his fiance Kate to help Leslie play along as his wife, and things unravel from there...
Kate is a little too close to Leslie, the landlord doesn't approve of unwed couples living together, Jon's mother drops in to meet his fiance, and Leslie's ex-girlfriend demands to know why he won't see her!


The School for Scandal
Skirball Cultural Center
2701 N. Sepulveda Blvd.
Los Angeles, CA 90049

Currently running!
Closes on January 16, 2011
Opened on January 12, 2011

Tickets by Phone: 310-827-0889

Synopsis
Richard Brinsley Sheridan's 18th Century masterpiece is a sparkling comedy of manners that made its debut in 1777 - but its comic look at human frailty and hypocrisy is as relevant today as it was then. Brimming with witty dialogue, mistaken identities, supposed infidelity, eavesdropping and scandal, both real and invented, The School For Scandal is a delightful, madcap and maliciously catty romp. After all, slander and gossip never go out of style.

























Friday, January 14, 2011

Actor Highlights

Brian Bedford in The Importance of Being Earnest

"Within seconds of sweeping onstage, and with a wordless gesture as funny as it is subtle, the great actor Brian Bedford proves beyond question that gender is of no importance whatsoever in portraying the imposing Lady Bracknell in Oscar Wildes greatest comedy, The Importance of Being Earnest.  Mr. Bedford is aware that when portrayed with the seriousness of purpose that she deserves — or should I say demands? — Lady Bracknell is more than capable of keeping an audience breathless with laughter."   Charles Isherwood, NY Times

It is not necessarily rare for actors — male actors, that is — to take on the role of Wilde’s arch parody of a paragon of high Victorian propriety.   But Mr. Bedford is truly playing the role, not working a gimmick.

A classical actor particularly celebrated for his performances of Shakespeare and Molière, he is a versatile, conscientious stylist who has no interest in winning laughs by winking references to the gender switch.  Bedford attended the Royal Academy of Dramatic Art in London from 1952–1954 and was in the same class as Albert Finney, Alan Bates and Peter O'Toole.


Primarily a stage actor, he is known for his English-speaking interpretations of the French playwright Molière, (one of my all time favorite playwrites!) including Tony Award nominated performances in TartuffeThe Molière Comedies (a double bill of the short plays The School for Husbands and The Imaginary Cuckold) and The School for Wives, for which he received the Tony Award for Best Performance by a Leading Actor in a Play. He has done a great deal of Shakespearean work, notably as Ariel in The Tempest opposite John Gielgud'sProspero in 1958, Angelo in Measure for Measure at the Stratford Shakespeare Festival in 1975 and 1976, and The Public Theater's New York Shakespeare Festival Shakespeare in the Park productions of As You Like It (as Orlando), and Timon of Athens (as Timon), the latter based on a production he originated with the National Actors Theatre in 1993 and which he eventually played on Broadway.

To impersonate a member of the opposite sex, Bedford took his cue from one of the all-time great drag performers – Barry Humphries, a.k.a. Dame Edna Everage. "I realized I had to be as utterly convincing as Lady Bracknell as Barry Humphries is with Dame Edna," he says. "Of course, you know it's Humphries you're watching, but you don't think about that – you're just absolutely flabbergasted and absorbed by this crazy woman that he's giving you. I thought how important that was: there mustn't be any hint of a man playing a woman."

Bedford says, of all Wilde's writings, he likes the letters best. He finds them more revealing of the man than his literary endeavours. "Oscar did say, 'I put my genius into my life and my talent into my work.'"
The exception, perhaps, is The Importance of Being Earnest. "Somehow we're getting the genius that he put into his life, in this play," he says. "It's Oscar himself."
Read more: http://www.cbc.ca/arts/theatre/story/2009/06/01/f-brian-bedford-stratford-importance-of-being-earnest.html#ixzz1B1gNr8RC

The Importance of Being Earnest runs to Oct. 30; Ever Yours, Oscar runs June 19-Aug. 29, at the Stratford Shakespeare Festival in Ontario.





A Pioneer will be Missed

Ellen Stewart

In the 1950's she began her career in New York as a fashion designer and started La MaMa in 1961, an experimental theatre specializing in total integration of music, dance, and drama.  She rented a tiny basement in lower Manhattan for $55 a month to provide her brother and his playwright friends with a space to showcase their plays. Already nicknamed "Mama," one of her actors suggested La MaMa as the name for her theater.  La MaMa moved several more times and took up residence in its original and current space on East 4th Street in 1969. In 1974, the company acquired a second space, The Annex, down the street. In November 2009, on the occasion of Stewart's 90th birthday, The Annex was officially renamed the Ellen Stewart Theatre.  Theater spokesman Sam Rudy said Stewart was instrumental in introducing to American audiences some of the world's most influential artists, including Bette Midler, Andrei Serban, Tom O'Horgan, Sam Shepard, Lanford Wilson, Harvey Fierstein, Maria Irene Fornes, Tom Eyen, Jean Claude van Itallie and countless others.

Stewart became known as the mother of Off-Off-Broadway theatre.

"She had a profound impact on the lives of countless artists, and she left a mark on the city of New York that will never be erased," Oskar Eustis, artistic director of The Public Theater, said in a statement.
The company's resident theater troupes have performed throughout the world including Columbia, Venezuela, Lebanon, Iran, Belgium, Holland, Austria, Denmark, Finland, Scotland, England, Sweden, France, Italy, Switzerland, Spain, Croatia, Korea, Turkey, Yugoslavia, Australia, Greece, Ukraine, Siberia, The Netherlands and Macedonia.  In 2006 she did 5 different plays in 5 different countries, in 5 different languages in 5 months....whew!

Stewart received the Human Rights Award of the Philippines from President Corazon Aquino and awards from the Emperor of Japan and from France. In the late 1980's, Stewart established La MaMa Umbria International, an artist residence in Spoleto, Italy.  Her theater's  frequently distinguished productions have made La Mama a venerated institution and have won more than 50 Obie Awards.

A funeral Mass will be celebrated on Monday at St. Patrick's Cathedral.

"I can see Ms. Stewart quite vividly still. (Once seen, she was not forgotten.) That vision will remain for me as an emblem of the importance of staying raw, open and engaged in an increasingly synthetic city. "
Ben Brantley, NY Times




Thursday, January 13, 2011

New Year, New Look

THEATER NEWS
And so it begins.  Another year.  We are officially IN this decade.  It has to be better than the last, but when it comes to theater, 2010 showed some promise.  New York Times columnist Ben Brantly busted out with his top 10 in 2010 with plays like The Merchant of Venice at the Broadhurst Theater, A View from the Bridge at the Cort Theater and one of my all time Favs, A Lie of the Mind at the Acorn Theater.

You can check out his full list here...
http://www.nytimes.com/slideshow/2010/12/15/theater/20101219-brantley.html 

Other bloggers are looking ahead to 2011. Don Shirley, blogger for LA Times, has a wish list.  Pasadena Playhouses triumph over bankruptcy, South Coast Reps new artistic director, and that the RADAR LA festival of new cutting-edge theater in June might be what the LA "low profile" theater scene needs to prove to the nation their worth.
http://www.lastagetimes.com/2010/12/ten-hopes-for-2011

COMING TO L.A.

God of Carnage
The original Broadway cast is bringing this Tony Award winning play to Los Angeles' Ahmanson Theatre.  The production will run April 5 through May 15.  God of Carnage follows two pairs of upper class parents who try to have a civilized discussion after their young sons get into a schoolyard fight. Their attempts at socializing soon falls apart as they end up at each other's throats.
The show's lead Broadway producers Stuart Thompson and Robert Fox will again oversee the production, along with producers David Pugh & Dafydd Rogers, Scott Rudin, Jon B. Platt, the Weinstein Company and the Shubert Organization.

Marcia Gay Harden, Hope Davis, Jeff Daniels & James Gandolfini in "God of Carnage"