“In the balcony scene, which was very funny and very sweet, the balcony was too high to climb, but low enough that he had to try. He played Romeo as a shirt-tail boy who was always trying to keep his shirt tucked in and his hair slicked down. He put his back to an adjacent tree and his feet on the wall, and shinnied up the wall till he was beside her. But then in his eagerness and ardor, he leaned toward her, lost contact with the tree and fell kerplunk to the ground. It was lovely. ” — Neal Weaver
Notes from Arden
“A Wake and Sing” is being hosted by French Stewart and Vanessa Stewart, who will sing, dance, and present almost all of the awards, but they won’t be alone.
Got It Covered
“. . . Another plaintiff in the AEA lawsuit, Michael A. Shepperd, was just elected to the union’s National Council – yes the same Council that overturned a 2/3 referendum of local membership to preserve the 99-Seat Plan, in April 2015. AEA’s National Council, in its actions, has been largely dismissive of the stated concerns of Los Angeles stage actors over the past two years.” — BY PAUL BIRCHALL
“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
Ask Corbett a Question!
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“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