Some stuff seen around the web recently:
- Rapid Response Team article on 2AMt. This brought to mind something I wrote about back in 2009, which I called “the absurdly long lead-time in theater.” I talked about in a resigned way; Bilal Dardai talks about in an inspiring way:
If you are that compelled to respond to something happening right now, then respond to it right now. Don’t ask yourself if you can afford to rent the space, if you can get the marketing strategy in order and whether you can get the awards committee to come see it. Take whatever pulsing, color-cycling energy is pushing at the inside of your skin and turn it into text, turn it into movement, turn it into a hammer and a nectarine and a furious drumming on the corner mailbox with a pair of restaurant chopsticks. Find one person unable to give you a dime but willing to pay you the precious gift of their attention. Show them the world and show them your reaction to it. …A single minute of blazing self-expression in front of any live audience is a work of legitimate theatre. Accept that, and you’ll find that the art form is more robust than you previously imagined.
- Theater Pub Gets Political? “Personal Politics” director Stuart Bousel talks about the next Theater Pub, which is being presented on Presidents’ Day:
What is more appropriate to a bar full of drunken intellectuals and artists than some discursive, perhaps argument-inducing, political statements — especially if they didn’t all necessarily agree with each other and we were careful to not take an obvious side?
- Aldo Billingslea is a major player. An article in the San Jose Mercury News by Karen D’Souza about one of the best actors in the Bay Area. I had the good fortune of having him in one of my very first PlayGround plays, and he was incredible. Just saw him in Collapse, too, which I’ll talk about shortly. If you don’t know Aldo, read this article:
One of the reasons he keeps busy is his versatility. The actor can skip from Shakespeare to hip-hop without missing a beat. In recent years he has garnered raves playing Othello (Marin Theatre Company), the Obama-like Harmond Wilks in “Radio Golf” (TheatreWorks) and the escaped slave Damascus in “Jesus Moonwalks the Mississippi” (San Francisco’s Cutting Ball Theater). In “Collapse,” a new play inspired by the 2007 Mississippi River bridge tragedy in Minneapolis, playwright Allison Moore explores how people struggle to cope with chaos that spirals out beyond their control. He plays a comic fellow named Ted whom he describes as a “sex addict who’s impotent.”
- The Ice Book. Marisela linked to this video of “a theatre experience that incorporates projection, puppetry, animation and sets made out of paper.” As she says, “It’s a gorgeous, magical performance hybrid.”