Notes from Arden
This raises the question of how to find the broader markets reached, with diminishing returns, by the print media? What are the most viable economic models for sustaining comprehensive and quality reporting while reaching for a broader market share? And how is it possible to engage ethnically diverse perspectives, to keep the performing arts, and its coverage, relevant to the population at large?
“’Twenty dollars?’ he said, incredulously. It was a good thing we were standing at the time, because at that moment I realized that I was considerably taller than he, and that tiny advantage was enough to get me through the moment. He began to play out a farce version of the events, in which I was cast as the big bad businessman out to fleece the poor, helpless little dancer. He wasn’t really angry, and he was having fun. I think he enjoyed the audacity of my offering twenty dollars to a man who commanded ten thousand or more for a single performance.” — BY NEAL WEAVER
Got It Covered
“I don’t think theater folks have ever been reluctant to engage in profound naval gazing, but nowadays the discussion has become codified and sanctioned. If there is one good thing to have come out of the entire AEA/Pro-99 debacle, it’s this: The folks who live and do their art here are now more united than ever before.” — 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.
Gina Young, who years back issued some superb rock albums, has been maturing into an increasingly compelling playwright with her “Femmes: A Tragedy” and “Tales of a 4th Grade Lesbo.” “sSISTERSs” is her most challenging, if sometimes obscure, work to date, but don’t be put off: It’s a playful piece with passages of delicious wit and an almost scholarly appreciation for pertinent nuggets of historical rhetoric (both sexist and enlightened).