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Notes from Arden
Info Wars: Eight Days at the Kosovo Theatre Showcase
How do we know what we think we know is true?
Featured Column
FRINGE RAW: “The Kansas Collection”, “Space”, and “There’s No Place Like”
Ashley Steed weighs in on some of her top picks for The Hollywood Fringe Festival 2017.
Got It Covered
Aspects of Mitchell’s article have also now gone national, with theater advocacy pundit Howard Sherman posting a piquant editorial late afternoon Friday on the Arts Integrity website. “Colin Mitchell (seems), in essence, to “blame the victims” of Profiles for not speaking up sooner,” notes Sherman. “Given this manner of engaging with a serious problem at one theatre that, unfortunately, is likely happening at other theatres and in the arts at large, Arts Integrity believes Bitter Lemons has gone from bitter to vile, and will no longer give further consideration to writing that appears on the site again.” –BY PAUL BIRCHALL
Ask Corbett
Ask Corbett a Question!
Have a question about Los Angeles theater and don’t know who to ask? We are now accepting submissions for an upcoming new section aimed to answer you most burning theater-related questions.
Around Town
“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
Our Town
Buderwitz Rules
Set Designer TOM BUDERWITZ has 25 rules for his craft. Among them: “Hold honesty above everything else. The truth is paramount. Make sure what you design is truthful. Is it the right space with the correct elements? Does it answer the questions in the text? Is it the right world for the play? That’s huge. Again, is it the right world for the play? Does it fit to the text? It had better. Is it a viable space? Does it make sense? Do the actors feel right within it? Is there the right amount of room to move (not too much, not too little). Your design must speak to the essence of the playwright’s play.”