Notes from Arden
“Like music, the theater belongs to everybody, it always did, and everybody needs to be invited to participate as well as to witness, or the art form will burn in the flames of what’s clearly a cultural revolution, burning through pockets of our constricted habits. Audiences of the future, like audiences of yore, ache to curate their experiences. Passive absorption of pre-curated culture within enclosed temples is a 20th century model.”
“I always felt like playwriting was the thread through all of it,” Shepard said in 2011. “Says Shepard, ‘Theater really when you think about it contains everything. It can contain film. Film can’t contain theater. Music. Dance. Painting. Acting. It’s the whole deal. And it’s the most ancient. It goes back to the Druids. It was way pre-Christ. It’s the form that I feel most at home in, because of that, because of its ability to usurp everything.'” — BY VANESSA CATE
Got It Covered
“The case, on the face of it, is pretty simple,” Scott Guy told Stage Raw. “We’re asking to be removed from the Do Not Work list. We’re asking to be recognized as a membership company.” 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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“Certainly one of most substantial musical and theater events this year, the world premiere of Louis Andriessen’s Theatre of the World, commissioned by the Los Angeles Philharmonic, in Walt Disney Concert Hall for only two performances in May represents a prestigious coup for the orchestra and venue that will surely be more thoroughgoingly recognized and appreciated when it opens in Amsterdam in June at the co-producing Dutch National Opera.” — by MYRON MEISEL
The Summer of our (Dis)Content
SITI Company’s Ellen Lauren and J. Ed Araiza Bring Rigor and California’s Great Depression to A Midsummer Night’s Dream
“In a sense, Lauren’s production is merely the most recent — and the most public —artistic reverberation stemming from a fundamental shakeup to UCLA TFT’s approach to stage training that occurred three years ago. According to Araiza, the school decided to break with the old paradigm of the Americanized version of Stanislavskian naturalism — the so-called ‘Method’ —that was pioneered by director Konstantin Stanislavski at the Moscow Art Theatre at the beginning of the 20th century and that continues to dominate university theater departments in the US.” — by VANESSA CATE