Category: film

2016: excavation review themes

  After six annual marathons captured in “what Martha has seen” lists of theater and film adventuring (2011, 2012, 2013, 2014, 2015, 2016), I’ve learned a few things. I’ve learned that sometimes theater gluttony can build personal knowledge but impede creative critical output. I’ve learned that it’s a great privilege to be among the frequent

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2016: excavation review

[featured image caption: Times Square. Screen capture from opening sequence of Babes on Broadway (1941).] Public performances in calendar year 2016, live or filmed, were many and thrilling. I viewed new talents and old familiars in large venues and intimate spaces. I wasn’t always thrilled with what I experienced, but I learned from each performance or

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History, Legacy, and Light: The Consciously-Embodied Art of Erica Fae

[article originally published in HowlRound March 12, 2016.] Erica Fae, barely into her forties, has been making theatre for over three decades. You can see her on television as a nude psychiatric asylum inmate in an episode of Boardwalk Empire or as Virginia Woolf in an episode of Doll & Em wandering a contemporary New York City

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2015: excavation review

The Sound of Music on film is 50 this year. Maria’s confidence is contagious. Writing and research and presentations filled this calendar year on a range of topics including the Yale Repertory Theatre, production photography and theater history, gender parity in theater, and arts programming interventions with young people involved in the criminal justice system. The year started out

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2014: excavation review themes

Chance Magazine issue 3 subscriber cover title line. Issues 3 and 4 of Chance were completed, printed, and delivered to subscribers and newsstands in 2014. I have now accumulated four years of comprehensive listings of performance events (2011, 2012, 2013, and 2014) that took me into a performance space of one kind or another. The listings

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2014: excavation review

1951 session with Florence Vandamm (far right) and on stage (L-R) John Emery + Katharine Cornell + Brian Aherne in “The Constant Wife” — part of the 2013-2014 NYPL exhibit “Pioneering Poet of Light: Forence VanDamm & the Vandamm Studio” I’ve had a several-month hiatus from frequent writing posted here but have published frequently elsewhere and will

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review: tanaquil le clercq: afternoon of a faun

American Masters — Tanaquil Le Clercq: Afternoon of a Faun A film by Nancy Buirski movie web site [entire film view-able here] [In addition to off campus ventures to attend and review professional theatre offerings (and all those on-campus O’Neill developmental performances that are off limits for public review), 2014 Fellows of the O’Neill  National Critics Institute observed a dance documentary and

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review: jersey boys

Jersey Boys Directed by Clint Eastwood Screenplay and musical book by Marshall Brickman and Rick Elice Featuring John Lloyd Young, Erich Bergen, Christopher Walken movie web site [This is the second of five off campus reviews generated while I was a 2014 O’Neill  National Critics Institute Fellow.] Jersey Boys Director Clint Eastwood, who refined his screen persona as a tough

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film feature: a human being and not a chair

[re-posting of a 2009 set of musings, inspired by today’s showing of this film during 2014’s Turner Classic Movie’s “31 Days of Oscar”] A Thousand Clowns. 1962 play into 1965 movie and into our hearts. This image is from the original stage production (featuring left to right Barry Gordon as Nick, Jason Robards Jr. as Murray,

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2013: excavation review themes

I have now indulged in three annual iterations (2011, 2012, and 2013) of complete lists of events that took me into a theatre or other kind of performance space during a calendar year. Panel discussions and film presentations and television show screenings and increasingly (and now almost exclusively) theatrical performances fill these listings. Over the

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