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
Tag: Drama Desk
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),
Simplifying, complicating, simplifying again. This has been a year of expanding and paring involvement on professional boards and projects, resuming old roles and assuming new ones. I continue into 2018 on the boards or executive committee of the American Theatre Critics Association and the Literary Managers and Dramaturgs of the Americas, and in a new
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
I am one voice among two dozen signatories to this piece that addresses selected critical response to several New York shows in the 2016-2017 season, and raises some questions about the range of critical voices addressing contemporary American theater. The essay, authored by 24 academics, researchers, and yes a few critics, does not reflect the
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
[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
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
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
Drama Desk presents: Why Shakespeare? Why Now? Moderated by Carol Rocamore Panelists Julie Taymor, Daniel Sullivan, Scott Shepherd, Michael Pennington, John Glover Friday, April 4, 2014 at 11:45am Sardi’s Eugenia room, 234 West 44th Street “It’s like a cliff face, Lear.” (Michael Pennington on the role) “When they like you, they really like you. The warmth is overwhelming.” (Pennington on
