Historical Palace Theatre

So I know that we’re in contemporary drama, so our articles should be about things related to what’s happening currently in theatre, but I found this article about a local historical theatre from my home town and I thought, after reading all these plays about how important the past is to theatre today, an article about the past might be appropriate. I also just found it interesting, because I never really looked into anything about our local theatre.

A little background, the Palace Theatre opened in 1925, after four years of construction. It cost $300,000 to build! It was one of the first of its kind in Western New York and is located in Lockport, NY (about 20 minutes east of Niagara Falls). The first film it showed was a silent black and white film called ‘The Ten Commandments’. It also hosted the First Vaudeville Company, the Famous Players, during its first year.

Over the past 85 years, the Palace Theatre has shown films, vaudeville, Broadway, plays, and hosted local dance schools, choruses, and theatre productions. This summer, the Palace will be putting on ‘Hairspray’ and ‘Seussical the Musical’, with a local cast.

As I read this article, the thing that really struck me is how much has changed regarding movie and play going. When the Palace opened, there was a maid attending the woman’s room and there were places for children to play, as well as a smoking room for the men. People went dressed in their best, rather than jeans and a t-shirt. Each program during the early years consisted of a news reel, a cartoon, the main feature, which was often a silent picture accompanied by an organist, and closed with a live vaudeville act. It cost 25 cents for everyone over 12 and there wasn’t a concession stand until the 70’s! The idea was that theatres such as the Palace were meant to be for everyone, not just the rich and social elite. Without places like the Palace, we never would have seen a growth of other small, local theatres accessible to the public; theatre would have remained in the opera houses for the cultured and film probably would have died out over time.

The last thing I wanted to say was that I found out Lucille Ball had her very own box seat at the Palace. How freaking cool is that?! Unfortunately you can’t sit in the box seats anymore (the floors are too dangerous) but it’s still really cool. Lucille Ball is actually from the next town over from me, which I just googled.

If you’re interested in learning more and seeing pictures, here’s the link:

http://www.lockportpalacetheatre.org/history.html

Excuse me

Sorry guys, allow me to out-gay myself.

http://www.playbill.com/news/article/147589-Audra-McDonald-In-Talks-for-Porgy-and-Bess-at-American-Repertory-Theater

I saw this on Playbill.com and had to say something. I saw Audra McDonald in 110 in the Shade a few years ago and it was one of the best stage performances I have ever seen. I don't know what crazy stuff Diane Paulus is planning to do with it, but I bet it's going to be a great show!

The Rude Mechanicals

Check out this map/chart/thing that visually describes how the collaborative ensemble THE RUDE MECHS manage the division of artistic labor. Very very interesting!

Shanley on Doubt

We spoke in class the other day about John Patrick Shanley's op-ed in the Boston Globe, on the occasion of the bway touring production of Doubt that came to town.  I promised to get the text of that to you.  Here it is.

Bob Rauschenberg + Antic Meet

A revival of "Antic Meet" will be presented by the Merce Cunningham Dance Company at the Joyce Theatre March 22-27. The Bob Rauschenberg Foundation (he created the original costumes for the 1958 piece) will be donating these for the revival production.

American Theatre Magazine, Global Spotlight, ex: Spain

Browsing the American Theatre Magazine thru TCG, which Ilana showed us how to do at the talk on how to get arts internships this past monday, I found the Global section. If anyone else is interested in spanish Theatre, or speaks spanish and has a desire to browse what kind of theatre is going on in that wonderful romance language check out this part of La Escena Contemporanea's website: (it's in spanish)

http://escenacontemporanea.com/2011/espectaculo/ana-pasadena.php

(in English...) AMERICAN THEATRE MAGAZINE SAYS: "Escena Contemporánea will also host María Folguera, a Madrid native in her late twenties who made a name for herself as a writer while still in her teens. In 2008 she founded a small theatrical collective called Ana Pasadena, devoted to the subjects of body, sex, gender and conflict. ("The important thing is to extract a tissue sample of life, or better, create a living tissue sample," reads part of the group's online mission statement. "Ana Pasadena believes that science is poetry and vice-versa.") On view is the group's second project, Amor y trabajo (Love and Work), an exploration of the masculine body." ---Juciy, huh?

This is all very new to me, but I'm someone who misses speaking spanish and learning about spanish culture, and who has always wanted to act, or know about contemporary spanish theatre as a marriage of both passions...so I think escena contemporanea might be a festival that hosts all different Spanish/International/European experimental dance and theatre groups together.

This was supposed to be on the blog last week re: Cripple of Inishmaan

Hey all! Look, there’s a Boston Globe review on the Atlantic Theatre Company’s version of Cripple of Inishmaan now at ArtsEmerson!! Naomi, you were just talking about this today. I’m not going to make it to see this because of my thesis, but it seems to be taking Boston by storm.

http://www.boston.com/ae/theater_arts/articles/2011/02/05/dark_humor_on_the_emerald_isle_in_the_cripple_of_inishmaan/

The article isn’t ground-breakingly eye-opening, but i read on because i had hope, and the second to last paragraph makes a thematic statement which actually reminded me of the universality of the young-man-coming-of-age-coming into his individuality-theme in Neighbors and Gem of the Ocean for example. It’s like cross-culturally a playwright can always create conflict in a piece of drama between generations and small community’s resistance to change. “As with his much bleaker “The Beauty Queen of Leenane,’’ McDonagh displays an acute understanding of the way small communities, where everybody knows everything about everybody and no detail from the past is forgotten, can maintain a suffocating hold on the aspirations of their inhabitants. Even the good-hearted Eileen demonstrates a who-do-you-think-you-are parochialism, snapping peevishly at Billy after his big adventure: “Don’t you be big-wording me again, Billy Claven.’’ The “big word’’ Billy used was “evidently.’’ “

South Park creators come to Broadway

Finally, a piece of theatre I am excited to see!

I'm making sure to get my  preview tickets for the week of showcase.

http://broadwayworld.com/article/South_Park_Creators_THE_BOOK_OF_MORMON_Musical_Heads_to_Broadway_in_March_2011_20100414

Some Humor & Some Twitter & Some Humor on Twitter

Hey all,

So first off, I wanted to share some theater humor that one of my friends sent me (I found it entertaining, yet thought provoking at the same time):

Things You Will Never Here in the Theater

Secondly, I wanted to share this considering the growing role of social media in EVERYTHING:

Why Don't Theaters Get Twitter?

Many of you probably saw Next to Normal's posting of their entire libretto on Twitter a year or so ago. Why can't other theaters do something theatrical when the rest of the world is doing fun stuff to grab attention?

PS- Follow Lord_Voldemort7 on Twitter for examples of how the medium can be used to be interesting and not just advertisey.

Rocco is Loco

"In truth it does not surprise me, let alone outrage me, that there are roughly three arts administrators for every working artist in the country –"

This article is just a helpful reminder that WE as artists need not only supply the art but also educate people about why  art is needed. They'll only appreciate what they've been taught to appreciate and if we don't take the responsibility for that, who will? We gotta help create the demand! Let them know it's a must!

http://artsbeat.blogs.nytimes.com/2011/02/03/theater-talkback-what-rocco-landesman-should-speak-about-next/

http://newyork.timeout.com/arts-culture/theater/891605/review-apple-cove

This production interested me because the world of the play reminds me of "The Last Confession of the Virgin Maria" by Phil. It has that same sort of Stepford-ville-ity, as well as some cartoonish characters. The play is described as striving to be a sort of "children's theater" for adults, which reminded me a lot of what Phil said in Theater Management the other day. Sooo, uh, Phil.... this one's for you.  (ps, hb)

One of our very own cast in Classic Stage Company’s production of Three Sisters!

Jamie Nelson (listed in the article as James Patrick Nelson), SOT class of '08 and one of the warmest, loveliest, and supportive people I've ever met, is cast in the Classic Stage Company's current production of Three Sisters! I'm always so excited to hear about fellow SOTers finding success and happiness out in the world, especially when it's someone as loving and talented as Jamie. It's sold out until March, but they are thinking of extending the run, so if you get the chance and happen to be in New York in the coming months, check it out!

http://www.playbill.com/news/article/147426-Three-Sisters-With-Gyllenhaal-Rylance-Hecht-and-More-Is-Sold-Out-Off-Broadway-Extension-Mulled

A Playwright to Know About

I worked with Nathan on his powerful play Broke-ology when we workshopped it at the Huntington's Breaking Ground Festival several years ago.  At the time, he was just finishing his grad playwriting degree. Since then, his work and career have really taken off, and it's lovely to see him receiving so much attention.  Check out this article about his newest piece to hit New York, When I Come to Die.  He's definitely one to watch!

Happening Now

The Denver Center's Colorado new Play Summit opens today and runs through Sunday.  Check out the brand new plays of one of this country's rising stars of new play festivals (including video interviews with playwrights Caridad Svich, Michele Lowe, and Ken Weitzman):

Colorado New Play Summit

Their twitter feed is @DenverCenter

“Body Against Body” Dance Theatre Piece to Premiere at Boston ICA this weekend.

A piece by the prolific choreographer of Spring Awakening and Fela and recipient of a Kennedy Center Honor, Bill T. Jones, which starts performances this weekend at the ICA in Boston.  This production is a revitalization of a collection of duets choreographed by Jones and his partner, before his partner's death from AIDS in 1988.

for more information, visit http://www.huffingtonpost.com/kris-wilton/bill-t-jones-goes-back-to_b_817769.html

Eco-Theatre

(Click the text to go to the article)

The new play in rep at London's National Theatre, "Greenland" received rave reviews from the New York Times yesterday. The piece is an amalgamation of many different ideas, images, and social issues pasted together (in addition to a fictional plotline) to raise awareness for the betterment of the planet. The critic also links the show to "Perestroika" in their sort of similarly "recycled" fashion. Too bad we can't all go to London to see it! 🙁

Gold Dust Orphans bring back Pussy on the House

You might know it as Cat on a Hot Tin Roof, but to Huntington Theatre Playwright Fellow, Ryan Landry and his Gold Dust Orphans theater troupe, it's Pussy on the House.

The Orphans, if you don't know, are a theater troupe of drag queens who during the winter operate out of The Machine, a gay bar in the Fenway and the Crown and Anchor during the summer in Provincetown. Landry writes spoofs of the classics with drag twists. Past Orphan shows include Of Mice and Mink, Willie Wanker and the Hershey Highway, and Phantom of the Oprah.

Orphan shows are bawdy, touching, over-the-top, and embrace all the tradition of drag. From the Brown Paper Bag site:

... But mostly there's the story. William's brilliant, heartbreaking story, (sent through The Gold Dust Orphans glitter filled strainer of course!). It's the same story of love unrequited, the same story of greed and avarice. The theme may be as old as time and yet none can deny that "Cat on a Hot Tin Roof" remains full to the brim with life's most valuable lessons. The kind hard learned by those who dwell in William's story and here ... within Big Mamma's house.  ... For this too, is a house filled to the rafters with mendacity.

The first Orphan's show I saw was a Christmas show, Silent Night of the Lambs. I'm not a big fan of the holidays, and this was exactly what I needed. I spent most of the show doubled over, holding my sides laughing.

You can get tix here.

The Art Coefficient: What Duchamp Said

I have a lock on Feb 8 for posting, it seems. I was very interested in the Foreword by Tim Crouch, and his quoting Marcel Duchamp. He does quote correctly, but the greater context is so important and so thorough, I wanted to share it with you all. A short read, but such a great table setter for art and – in many ways – for this play.

http://bit.ly/82BZVW

The Review is In: Spiderman Turn Off…

http://nyti.ms/ez4M3n

Let's all hope we can do better in our future productions than this:

The sheer ineptitude of this show, inspired by the Spider-Man comic books, loses its shock value early. After 15 or 20 minutes, the central question you keep asking yourself is likely to change from “How can $65 million look so cheap?” to “How long before I’m out of here?”

Snippet of Tim Crouch: England

http://bit.ly/eCHWd4

Please take a few minutes and watch this snippet from the Edinburgh performance (2007) of England. This is the early part of Act 2. I think it will set the tone for the play as you read it.