Notes from Arden
So why can’t an ensemble consist of one actor plus designers and technicians? Are they not on the same team? Wouldn’t this argument make our Hollywood Fringe, with its overwhelming majority of solo performances, a cauldron of ensemble work? Los Angeles Master chorale puts that argument to rest.
‘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
Got It Covered
The Wallis Annenberg, which certainly must be pleased about the success of Deaf West Theater’s Spring Awakening, as it played there a few months ago in its intermediate phase from 99seat stage to mid-size, has named its first artistic director and his resume sounds really intriguing. American Theatre Magazine reports that the new AD, Paul Crewes, has been the artistic and creative director of Kneehigh Productions in the UK, which produces compelling and imaginative touring productions, some of which have played the Wallis in previous seasons.
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