Coming Soon ... Being challenged to do better is uncomfortable! Life needs more theatre and confessions (Lidka and Christopher could not disagree less)
Down Under and especially Down Under from Sydney in Melbourne most aspiring actors know how to echo ancient themes today. And what we really love is that
these themes of love, family, friendship are all filtered through intimate, very personal conversations with
just a small cast. It's all very passionate ... after all Gabbie aka Bella aka Coco is catalysing the stage ;-) These youthful cast dares to raise risque Shakespearean topics at a time and in places where human emotions and weaknesses are still tabooish... The end is nothing. The ride is all.
Can our age speak of tragedy
Anymore? Or is comedy
The only plot left in the room
Brooklyn director Terry Greiss worked with the NYPD to develop a
program called To Serve, to Protect, and to Understand, which brings
officers and civilians together with meals and acting games and
ultimately gets them to tell and act out each other’s stories. In New
Jersey, a similar program called Walking the Beat involves police with
high school students. – American Theatre
Power of good sentence
Swim Between The Flags
Performance
Martyn Myer Arena
Enter via Lionel's
Southbank
Grant Street
This
original devised work is the graduating piece by Theatre Company 2019 –
the first graduates of the Bachelor of Fine Arts (Theatre) – developed
in collaboration with graduating Production students. The work was
conceived, researched, written and designed by the students themselves
and reflects their commitment to ensemble collaborative practice and the
creation of new Australian work.
Devised and Performed by: Theatre Company 2019
Presented by: Theatre and Production
We strongly encourage booking in advance for all of our events. This
guarantees your seat, and allows us to communicate any unforeseen event
scheduling changes with you. Please note, tickets are required for entry
to paid events.
Related: No, Sally Rooney is not the “
great millennial novelist.” This generation is too diverse for that — its books seek specific audiences, not universal ones...
Towards Storytelling in 2019
From one year to the next, he manipulated the Comédie-Française,
selecting plays and scheduling performances on or around his birthday
(which fell, conveniently, on a major Catholic feast) to give himself
(born into minor Corsican nobility) the aura of a divinely appointed
monarch. –
History Today
CODA:
Performers from multiple Broadway shows gave impromptu renditions to
crowds along the streets outside the theaters when the power went out
in Manhattan Friday night just before shows were about to start. –
Washington Post
It’s the first time a Bard on the Beach production has been set in
India – and that’s a boon for Sarena Parmar, the woman playing Helena,
who grew up one of very, very few kids of color in Kelowna, B.C. But the
country has changed, she says. “Bard on the Beach has been making a
push for diversity, but even so, this is the first time it’s had such a
large South Asian cast. ‘We’re getting so many more South Asians coming
to see the show and suddenly they can see themselves in the story in a
way that maybe they couldn’t before,’ [Parmar] said.” –
CBC
Says producer Jamie Hendry, founder of the New English Shakespeare
Company, “There’s an appetite for this. Audiences are being developed in
a lot of cities around the world. We are focusing on the Middle East,
Asia and South East Asia, and they are all beginning to become
accustomed to NT Live and the big musicals. So to be able to provide
some drama and something they would not receive otherwise is a fantastic
challenge.” –
The Stage
Lyn Gardner: “Science … can give us the facts or the knowledge. But
as a species we don’t always respond to facts because they make us feel
guilty and paralysed. What we respond to as human beings are stories.” –
The Stage
WELL, THAT’S A RELIEF: Newsweek: Cannibalism Is Taboo ‘For Now.’ ...
“It’s all about awareness and action. The artist’s job is to raise
consciousness and cut through the complacency. I asked playwrights to
meditate on the theme of, ‘Wake up—act now!’ We’re creating awareness,
and stimulating action.” –
Pacific Standard
Nottage is the only woman to win the Pulitzer Prize for Drama twice:
for Sweat and Ruined. The former reached Broadway, while the latter – a
story about women in war-torn Congo – played a sustained Off-Broadway
run. As a result of where they were first staged, the plays have had
somewhat different lives after their New York engagements. –
The Stage
“How, then, do you avoid the cringingly awful? The shows so bad you
feel you’re never going to get those precious moments of your finite
life back again? McGowan smiles and looks up – as she does when she’s
thinking or, as is most likely in this case, remembering just such a
show.” –
Irish Times
This figure is still 15% short of the NT’s stated 50/50 target for
gender representation, which the theatre has said it will achieve by
2021. It is also below the 42% figure recorded in 2016/17. However, the
theatre argued that it is still “on course” to meet its targets. –
The Stage
“Many in this new generation of female producers are taking alternate
paths to the industry’s top rung — picking up skills in the nonprofit
theater world, which has become an important breeding ground for
Broadway shows, or in the corporate entertainment industry, home to many
of the movie and pop-music brands that end up seeding international
stages.” –
The New York Times
Lyn Gardner says that “the fringe is like a machine churning out ever
more raw talent, which is attractive to venues who buy it up cheaply.
But the issue is they then offer very little ongoing support to develop
that talent in a way that allows companies to grow and develop.”
(Instead, they just get more raw, cheap talent the next year.) –
The Stage (UK)
Jocelyn Allgood, who participates in several community theatres near
her in Texas, says that “it’s our small contribution to humanity — to
ease the burden of life, to make you laugh, to stir that emotion burning
inside of you — be it jeers for the villains, tears or cheers for the
heroes and (we hope) applause for the cast.” –
Dallas Morning News
“Why should we take seriously the words of someone who doesn’t
understand the great amount of work involved in creating a
performance? A critic’s opinion is unreliable if it’s based only on a
writer’s personal preference. Personal preference tells the reader what
the writer enjoys, it doesn’t tell the reader why the writer enjoyed
it.” –
Howlround
Both the Royal Academy of Dramatic Art and the London Academy of
Music and Dramatic Art are ducking out of the Conservatoire for Dance
and Drama. Why? They both say that becoming independent institutions
will help them because “higher education policy has changed
significantly” since RADA helped found the Conservatoire. –
The Stage (UK)
“Why would anybody want to go? It’s inarguably among the most
prestigious collections of stage actors in the world and yet membership
comes with no formal minimum participation requirement. … However, two
sources close to Steppenwolf said that there was no love lost between
the actress and the current artistic administration, although Plimpton
had wanted to keep her action as private as possible.” –
Chicago Tribune
“[The worrisome development is] the recent decision of leading
Scottish newspapers and magazines to slash their coverage of the
festival in half. Coupled with the dwindling size of the annual
contingent of London critics, the threat to the ecology of the festival
is real.” –
The Observer
All the world’s a stage, especially when you have no job prospects Believe it or not, life as a travelling theater actor making $225 a week performing Shakespeare for high school students isn’t all it’s cracked up to be. (UK)
