Tag: excavation review

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 themes

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

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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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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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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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