Tag: ATCA

2018: excavation review themes

I squeezed adventures in Norway, Sweden, the wilds of central Wisconsin, Georgia, Massachusetts, and Rhode Island into 2019, a year of paring, sifting and sorting of involvement on professional boards and continuing projects. I served on the executive committee of the American Theatre Critics Association, as a judge for the Henry Hewes Design Awards and the

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2018: excavation review

Live and filmed performances, as well as readings of works in progress, filled my days in calendar year 2018. I usually attend solo, and yet often host my spouse or theater-obsessed friends and colleagues. By my rough count, during 2018 in New York City and elsewhere, I saw 300 theatrical performances (ticketed, cast, full productions),

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2017: excavation review

Public performances in calendar year 2017, live or filmed, were many and thrilling, with new talents and old familiars, in large venues and intimate spaces. By my rough count, during 2017 I saw 290 theatrical productions (including a few staged readings) and 24 cabaret performances (basically a singer and musicians in a club setting, singing

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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 theater-going

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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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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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playwrights, critics and scenes

Visions of playwrights and critics can inspire images of dramatic scenes. Colleagues from Chicago tell a story about a certain critic arriving at the lobby of a show and being clocked by playwright unhappy with a negative production review. A colleague in Philadelphia tells of being publicly berated in an area theatre by a similarly

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event musings: 49th o’neill convening, the edith, the sea

Conference wanderings: 49th O’Neill National Playwrights Conference Saturday July 27 through Monday July 29, 2013 Eugene O’Neill Theater Center, 305 Great Neck Road, Waterford, CT Over the past six months or so, I’ve been assisting pal Jeff Sweet on a book commemorating the 50-year history of the O’Neill Playwrights Conference and associated other events that

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event musings: 2012 ATCA conference [people]

American Theatre Critics Association Annual Conference Playwrights, Presenters, and Panels Friday June 15, 2012 and Saturday June 16, 2012 Chicago, IL event site The multi-day American Theatre Critics Association annual conference feeds my arts gluttony in several ways — many theatrical presentations of course (and these are to be covered in a separate blog post),

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