“Hence, the almost anti-celebratory opening number, Stephen Foster’s “Hard Times (Come Again No More)” beautifully rendered by the Stewarts, and joined by a chorus (Monica Greene, Gregory Guy Gorden, Erin Holt, Amir Levi, Cj Merriman, and Andrew Joseph Perez) assembled by director Jaime Robledo.”
“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.
The Kid was buried December 14. It was a quiet funeral. Out with a whimper. But now the time for quiet is over. Join everybody’s favorite plaintiffs French Stewart and Vanessa Stewart for a shit-kicking, noisy raise-your-glasses, raise-your voices wake, otherwise known as the Third Annual Stage Raw Theater Awards, a musical celebration of the best of 99-seat theater in 2016, and the best of 99-seat theater since 1979, and what’s possible for the future.
“The on-the-ground situations and positions are now so bizarre, the only reliable conclusion to be had is that we live in post-truth era, where nothing is what it seems. Everybody is wrong, and everybody is right. (I hope that’s a helpful conclusion.)” — Steven Leigh Morris
“Because when the world seems upside down and inside out, when reliable sources are no longer reliable, when reason starts to sound like babble, and babble like reason, when the Russian Duma applauds the outcome of a U.S. election (as they did with Donald Trump, literally), there are places where actual truth can be told, little halls off back alleys, where poems are read, where songs are sung, where plays are put on, places like in the tiny theaters all across Los Angeles, and Moscow and St. Petersburg, Russia. This is what happened in Soviet Russia. In secret. In defiance.” — by Steven Leigh Morris
“‘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
“I have no idea how this came about,” Ong explains about his penchant to promote anybody but himself. “I’m a very, very shy person. I’m socially award, and very private. I always found myself among people who have tremendous credits and so, I find that when I discovered the iPhone, I would take pictures and post them and ask, who are these famous people? I don’t think I could ever be an actor because [I have] so much insecurity. When I say ‘famous,’ it’s tongue in cheek, but I feel that everybody deserves to be seen, and wants to be seen. So anybody who lets me post their picture, I post their picture. I’d rather not be in any of these pictures.” — BY STEVEN LEIGH MORRIS
Don’t get angry. Play the fact game. It’s fun, and it leads to any conclusion that you desire.
I’d like to use almost the same document that Equity uses to arrive at quite different conclusion. The difference being that the conclusions here actually make sense. This is from Equity’s 2013-2014 Season Theatrical Report. — BY STEVEN LEIGH MORRIS
Grossman also demonstrated the kind of wisdom that defines leadership, commitment to a clear purpose while embracing the opposition: “[Actors’ Equity Association] is not the enemy,” he said, referring to the instigators of the latest assault on 99-seat theaters in Los Angeles. Instead, he attributed the current dispute to a kind of cultural divide, based on differing perceptions, that can and must be bridged.