“’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
“Los Angeles Intimate Theatre is a thriving incubator with a track record of critically acclaimed productions. Many have gone on to other venues, creating jobs along the way. It needs to be treated with the same care as any other small business community.”
“Throwing a strategic plan together at the last minute to satisfy a well-intentioned funder is a colossal waste of time. It is also a waste of time to worry about not having a strategic plan, unless you are quite sure you need one.” — BY CORBETT BARKLIE
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Notes from Arden
“‘I still have 29 plays,’ Albee said in our 2007 interview, ‘and I don’t think more than seven or eight have been commercially successful. When nine of my plays had been flops, not returning their investment, it was hard to make a case for doing my next one. I think that the economics of theater are more destructive than ever before.'” — BY STEVEN LEIGH MORRIS
“Heinrik Ibsen’s Hedda Gabler remains a titanic creation that still demarcates the theater’s passage into modernity. Its protagonist is the embodiment of contradiction, from the diamond-like clarity of her individuality to her ultimately inscrutable motives. Does she represent the rudiments of an emerging feminist consciousness? (She’s blazingly complex and refuses to conform to prescribed gender roles.) Or does she represent a twisted male perception of the confounding power of female assertion?” — BY MYRON MEISEL
The Summer of our (Dis)Content
‘Movement and text is in equal parts. I mean we’re talking and moving pretty much the whole time. In terms of why people are excited, I mean, if we just say, “Okay. Why are people excited about making work and seeing work where there isn’t seating and a stage?” If we just take it as that. I think the answers are kind of exciting. I guess what I think first of all is that this is the screen age, and we are, I think, losing a bit of what it is to be human people with skin and muscles and sweat and tears and blood — the experience of having touch and proximity, really like an intimate experience among strangers with just human interchange: eye contact, touch, whispering, breath, and to be so close to a lot of heightened emotion and heightened physicality, really close. I feel like maybe in the digital age, there is a craving for that. I hope.’ — By Bill Raden