*** FREE THEATER ONLINE ***
Join us for NOISES OFF, a 1982
play written by the English playwright Michael Frayn about a play within a
play.
WHEN: Wednesday, September 30,
2020
TIME: Watch the show at 7:00 p.m.
Join our Zoom social gathering at 6:30 p.m. Connect online on Zoom at 6:15 p.m.
to make sure your audio and visual are working properly.
SHOW RUNTIME: 1 hour, 59 minutes
WEBSITE:
https://www.youtube.com/watch?v=RmJWPGZp1-Y
HOW TO CONNECT
Sign up on this event page.
https://www.meetup.com/fr-FR/Thumbs-Up-Theatre-Toronto/events/273015754/
On the morning of the event, Amy
will send attendees the Zoom link and password to enter the meeting.
Please ensure you are signed up
to receive messages and event page updates. If you don't hear from Amy by 12
noon on September 30, send her a message on meetup.com and she will send you
the link and password.
Please specify you are inquiring
about NOISES OFF.
PART 1 - PRE-SHOW GATHERING: Connect
at 6:15 p.m. on Zoom on your computer, laptop, iPad or cellphone. The 6:15 p.m.
connect time is to give you 15 minutes (before the official 6:30 p.m. start
time) to ensure your video and audio are working properly. If you don't have
Zoom, follow the prompts to download it via the link sent to you.
The pre-show gathering will
officially begin at 6:30 p.m.
PART 2 - THE SHOW: At 7:00 p.m.
watch the show on your device
PART 3 - AFTER-SHOW GATHERING: At
9:00 p.m. (or whenever the show ends) join us back on Zoom for a post-show
discussion and gathering.
*** DRAMATISTS GUILD WEBINARS ***
This fall, seven
thought-provoking and informative webinars will be held between Monday, Sep 21
and Friday, Oct 2.
Banned Together
Highlighting Banned BIPOC Writers
The Dramatists Guild Legal
Defense Fund (DLDF) is partnering with The Dramatists Guild Political
Engagement Initiative to present two online panel discussions that will
highlight BIPOC writers who have previously been left out of significant
cultural conversations.
Facing Censorship: Personal
Experiences on Being Banned
Thursday, October 1 at 3pm EDT
Unknown Legacies: Black
Playwrights in America
Friday, October 2 at 3pm EDT
Wait! That’s Not What I Wrote!
with Cheryl Davis from The
Authors Guild
Monday, September 21 at 2pm EDT
Copyright Questions
with Catherine Rowland from the
U.S. Copyright Office
Monday, September 21 at 2pm EDT
Music Copyright 101
with Sean Patrick Flahaven from
Concord Music
Wednesday, September 30 at 2pm
EDT
https://www.dramatistsguild.com/news
*** OPPORTUNITIES FOR PLAYWRIGHTS
***
Continuing our aim to develop and
produce new and overlooked plays by exciting playwrights over 40, Prism Stage
Company is currently seeking submissions for our ongoing Play Development Lab
and future programming.
Playwrights who are BIPOC (Black,
Indigenous and people of color over 40) are highly encouraged to submit.
***
FutureFest seeks original work
(NO musicals or plays for children) that has not been published or produced
where admission was charged prior to FutureFest 2021. Staged readings/workshop
productions are not necessarily disqualifying factors.
***
The Eric H. Weinberger Award for
Emerging Librettists is a juried cash and production grant given annually to
support the early work and career of a deserving musical theatre librettist. It
commemorates the life and work of playwright/librettist Eric H. Weinberger
(1950-2017), who was a Drama Desk Award nominee for Best Book of a Musical (Wanda’s
World), and the playwright/librettist of Class Mothers ’68, which earned
Pricilla Lopez a Drama Desk Award nomination.
*** FOR MORE INFORMATION about
these and other opportunities see the web site at
https://www.nycplaywrights.org ***
*** BEN BRANTLEY ***
Ben Brantley, the influential New
York Times theater critic, will leave the job next month. “This pandemic pause
in the great, energizing party that is the theater seemed to me like a good
moment to slip out the door,” Brantley said in a statement.
The vacancy will provide the
Times with an opportunity to expand the diversity of the newspaper’s chief
theater critic line-up. Maya Phillips, a woman of color, is an arts criticism
fellow and frequently reviews stage works, but the chief critic job has
traditionally been held by white men.
More...
https://deadline.com/2020/09/ben-brantley-new-york-times-theater-critic-retirement-1234574410/
***
Welcome to DidHeLikeIt.com, your
official guide and translator for all the Broadway theater reviews by Ben
Brantley, the chief theater critic for the The New York Times... and The World
(insert evil and high pitched Ben Brantley laugh here).
We developed DidHeLikeIt.com for
two reasons.
1. Everyone wants to know if Ben
Brantley and The New York Times liked a Broadway show or not.
2. No one actually wants to read
the reviews.
More...
https://www.didhelikeit.com/about.html
***
Some have asked it with urgent
desperation, as if a new Times critic would be the end to their theatrical
drought. (It’s so easy to blame critics when things don’t go your way – but
negative reviews and/or positive reviews are never what decides your fate.)
I asked Ben the same question
when he appeared on my podcast. Even back then, he had already occupied his
important theater seat longer than most.
“How long will you keep doing
this?”
His answer? He told me he was
going to keep doing it and saw no reason to stop.
And I remember thinking . . .
“Good.”
I know, I know, that response
surprised even me, but keep reading.
Last week, Ben finally saw a
reason to stop. On Friday, the Times announced he was stepping down from his
post as the Chief Drama Critic for the New York Times. Another casualty of the
pandemic.
Ben was a tough critic, no
question. But I’m going to miss him, something I never thought I’d even think,
never mind say.
More...
https://www.theproducersperspective.com/my_weblog/2020/09/ben-brantley-something-i-never-thought-id-see-or-say.html
***
Ben is a cultural omnivore, and
his wonderfully wide-ranging knowledge is there in every piece he writes. That
first “Summer and Smoke” review quoted a Tennessee Williams interview in
Playboy magazine and name-checked Hillary Clinton, Katharine Hepburn and
“Independence Day”; his latest, of “The Jacksonian,” referenced Jim Thompson,
Carson McCullers and Lillian Hellman.
That review was of a Zoom reading
of the script, a necessary adjustment with live theater largely sidelined. Yet
when one Berkshires theater got the historic OK to perform before an audience
again, Ben Brantley was there, notebook in hand.
“We adapt, we make do, even as we
long to return to the age of the handshake and the hug,” he wrote of the
experience.
More...
https://www.nytco.com/press/ben-brantley-take-a-bow/
***
EPISODE 63: BEN BRANTLEY: TELL ME
A STORY
On this week’s episode, Jamie and
Rob are joined by Ben Brantley, co-chief theater critic for The New York Times.
A consummate journalist and celebrated writer, Ben talks about how he came to
the Times, his tenure there since 1993, his writing process, what theater
criticism means to him, and why he loves the theater. A bit later in the show,
Rob gives a look into the career of experimental playwright and director
Richard Maxwell through the lens of a Ben Brantley review.
https://broadwaypodcastnetwork.com/the-fabulous-invalid/episode-63-ben-brantley-tell-me-a-story/
***
Cast of Preschool Nativity Play
Wakes Up to Scathing Review From Ben Brantley
MOUNT PLEASANT, S.C. — The cast
of St. Joseph Preschool’s production of the Nativity scene woke up to a
devastating sight this morning, as they opened their copy of the New York times
and discovered that theatre critic Ben Brantley had given them a devastatingly
negative review, sources close to the toddlers report.
“It’s a terrible feeling to read
those things about your child,” says parent Janet Lobanick. I mean, Brantley
wasn’t entirely off base with his assessment. The sets were shoddy and the
performances amateurish. It’s the tone of his review that got to me - I mean he
really seemed to revel in ripping this production a new one.”
More...
https://www.thebroadwaybeat.com/post/cast-of-preschool-nativity-play-wakes-up-to-scathing-review-from-ben-brantley
***
You guys, social media feuds just
got a lot more highbrow. The latest celebrity to call another well-known person
out for being “a little bitch” on Instagram (the message was scrawled over a
photo, the modern equivalent of Mene Mene Tekel Upharsin) is not your usual
breed of Real Housewife or pop star I’ve recently become too old to have heard
of, but James Franco, the polyglot actor who is the only person in the history
of the universe to actually do everything that artsy boy from Jewish summer
camp told you he was planning to.
The subject of his ire is none
other than Ben Brantley, the lead theater critic of the New York Times, who
recently reviewed the production of Of Mice And Men Franco is currently
starring in with Chris O’Dowd, with his patented brand of tepid criticism.
Franco, he observed, “is often understated to the point of near invisibility.
It’s a tight, internal performance begging for a camera’s close-up.”
More...
https://www.tabletmag.com/sections/news/articles/james-franco-directs-rant-at-nyt-theater-critic
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