Notes from Arden
Dear Violet and Mattie Fae, we understand that you like to control things and that you’re exceedingly stubborn, but rather than keeping union actors out of 99-seat theaters, where nobody makes any money and people try to make art, wouldn’t your efforts be more in keeping with the traditions and ideals of your union to get your actors into the Pantages? Why do you keep picking on Little Charlie, instead? Because the unemployment figures within your own union demonstrate that whatever it is you’ve been doing all these years simply hasn’t been working.
“What was important was that the panelists were all playwrights, and, as playwrights, their considerations, fears, and hopes were essentially the same as playwrights working in any genre – e.g., how do we get our plays performed, and how do we grow great theater?” –BY PAUL BIRCHALL
Got It Covered
“I love how the City of West Hollywood has crafted a partnership with the Fringe, and I only wish that other groups would also step forward to do likewise. Imagine if other entities with bucks promoted diversity by bankrolling fringe productions for other underrepresented groups. If West Hollywood can do it, why can’t other organizations and municipalities?” — by PAUL BIRCHALL
Ask Corbett a Question!
Have a question about Los Angeles theater and don’t know who to ask? We are now accepting submissions for an upcoming new section aimed to answer you most burning theater-related questions.
Accordingly, while A Night with Janis Joplin was on its own terms unquestionably a rousing, imaginary concert, I must admit to unfairly subjecting it to a double bind: alternately annoyed by its deviance (and pretense) of authenticity and equally unnerved by the many sweet spots of enthusiastic pleasures it could elicit, some nostalgic, other just showbiz savvy. –BY MYRON MEISEL