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"Our primary barrier is what I have been saying since I started this job at OSF, and had actually been saying it at the Denver Center too: This industry has relied so heavily on one generation of theatregoer. And that generation has been great to us; they have come to see our shows, they have given us their resources, they have put us in their will
... See moreAmerican Theatre • Oregon Shakes Restructures, Scales Back With Eye to Future
In the past, when I’ve made the case for cri... See more
Charles McNulty • In defense of criticism: A theater critic asks what good does it do in an upside-down world
Opinion | Why theater (in its current form) does not deserve to be saved
washingtonpost.com
When theater creates a space for empathy, audiences can be transported into situations that are beyond their own lived experiences and their hearts can crack open. If we are telling our stories successfully, then the theater is a place where everyone can feel a transformative sense of belonging – performers, writers, musicians, and even audience me
... See moreAnd the theater itself! It was no palace, no such Great Shakes as the Tivoli out south, for instance (where many colored people went every night). But you felt good sitting there, yes, good, and as if, when you left it, you would be going home to a sweet-smelling apartment with flowers on little gleaming tables; and wonderful silver on night-blue v
... See moreMargo Jefferson • Maud Martha
And: “There is a hunger to see the human presence acted out. As long as that need remains, people will find a way to do theater.”
Rainn Wilson • The Bassoon King: Art, Idiocy, and Other Sordid Tales from the Band Room
Nineteen twenty-three was one of Broadway’s brightest years. John Barrymore played Hamlet just a few blocks away from where his sister Ethel was appearing in Romeo and Juliet. Elmer Rice’s The Adding Machine and Pirandello’s Six Characters in Search of an Author also opened. Most critics cited Galsworthy’s Loyalties as the best play of the season.