Ashley Steed weighs in on some of her top picks for The Hollywood Fringe Festival 2017.
Notes from Arden
Got It Covered
“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
What would happen if you re-imagined your Board, removed the mandate to contribute or raise money and asked them to do something they might actually be good at, like say, audience development? I bet this is generally a more comfortable topic for most board members because it relates to earned income, marketing, and customer service. Now you’re talking business-y language and put them in their comfort zone. –BY CORBETT BARKLIE
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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