Sara Bynoe gives good interview.
“How to get Colin Thomas to like your show.” That’s the title of this post on theatrewire.com, a new initiative from the First Vancouver Theatrespace Society (the folks who produce the Fringe), the Playwrights Theatre Centre, and the See Seven Performing Arts Society.
This blog entry is a short interview clip hosted by the lovely and talented Sara Bynoe.
OH DEAR: I POSTED A SCREEN SHOT AS OPPOSED TO A VIDEO LINK. TRY THIS: http://www.theatrewire.com/blog/
Actors should ALWAYS be having a good time onstage. Watch Nicola Lipman and Andrew Wheeler to see how it’s done.
I love the Arts Club. For decades, Bill Millerd has kept multiple stages running, employing hundreds of artists and technicians, and entertaining thousands. The Arts Club is committed to developing new scripts, too, so more power to ’em.
That said, I wish they’d admit that previews are rehearsals and charge a reduced rate for them, like Bard on the Beach does. As far as I’m concerned, if a show’s not ready for the press, it’s not ready for the public to pay full price for it, either. And we all know that shows grow a lot between the first preview and opening night. [Read more…]
If you mount King Lear, make sure to get enthusiastic and ongoing consent
Okay, this is at my own expense, but it’s so hilarious that I have to share. In my original review of King Lear, which was posted on straight.com last Friday, I wrote the most epic fail of a lead ever.
Here it is: “If you mount King Lear and you don’t go deep, the results can make for a very long night.”
Ai yi yi. I think I’ve got a dirty mind, but I must have read that lead a dozen times before I submitted the review, and the unintentional innuendo sailed right past me. Fortunately, an online commenter pointed it out and I managed to change it before the print copy came out.
So phew. But still, unbelievable, right? I pray that I will never top it—so to speak.
