This edition of From the Archives is SOOOO 2007, talking about the “experience economy” and touching on “immersive theater” experiences. But while those phrases may be rather passe these days, there are still a few takeaways in here for consideration. It is still odd for me to think about how much I’ve evolved in the […]

Today I was having an online discussion about typical practices of a first rehearsal read-through, and  this question came my way: re: off-book — a commentator on my blog told me that actors are typically asked to memorize their lines [for first read-through] without inflection of any kind so they are more directable in rehearsal […]

In 2007, I was working on my first Rogue Festival show – an original play written in iambic pentameter called “All’s Red that’s Riding Hood” written by Terrance Mc Arthur. It was the winner of an original playwrighting competition at Woodward Shakespeare Festival. I had a very game and supportive cast and a very philosophical turn of mind at that time.

I still hold that all three of these are true for me, although I’d qualify: They are lessons I learn over and over again

There comes a time in all of our artistic work when people who have always said, “Awesome!” instead say “Awful!” – or even worse: “Meh”.

I can unequivocally recommend Good Company Players’ “The Glass Menagerie” for a lot of great reasons, but the one that stays with me is Alyssa Gaynor and all of her moments. You see, Laura Wingfield is a character that doesn’t say much, which makes the playing of her incredibly heavy lifting. This play is full […]

Anne Bogart says that the “constant state of any company of actors is one of continual crisis”.  Just the act of performing an objective upon another being is an act of crisis.  A third party “judging” the action, is a crisis. On a first run though we have two choices:  1) To ignore any sense […]

Hey, folks! I thinned out the script shelves this week and I have a stack I’m willing to give away to anyone who is interested.

Updated: At the bottom, there are links to updated stories including OSF’s statement on the project. Overall, it sounds like they are doing this carefully and with stringent standards. “The Oregon Shakespeare Festival will announce next week that it has commissioned translations of all 39 of the Bard’s plays into modern English, with the idea […]

Claudius is one of those extremely efficient characters in Shakespeare’s canon. He drives from moment to moment, action to action with a clear direction and overarching purpose: to solidify his power and maintain a stable realm. If only it weren’t for that pesky step-son mucking things up. Which is why his soliloquy in Act 3 […]