Joining Forces

Isaac's not the only one making changes these days. Or, more precisely, he's not doing it alone.

You may have noticed things have been a bit quiet here at 99 Seats Central of late. I've been doing some thinking about this blog, about theatre and blogging in general and trying to decide what my next move is. Because, to be honest with y'all, I'm kind of tired of talking about theatre. I know I've only been kicking it for a couple of years and a lot of cats have been at it a lot longer than I have, but there's kind of only so much you can say. I've said it before, but it bears saying again: doing is way better than talking. I've got some things cooking on various fires, with announcements soon to come, in the doing column. And so, maybe it's time for less talking. About theatre anyway.

'Cause, in case you didn't notice, I got stuff to say about other stuff. About other forms of dramatic writing, about other important matters of great importance. But at maybe less of a clip. At the same time, Isaac has been expanding the focus of Parabasis to involve some other super-interesting writers. He approached me about joining forces. I thought about it for a while...and decided to jump in.

Isaac's a friend, a colleague and an all-around good guy. We tend to see eye-t0-eye on a lot of things and even the things we don't, we're able to talk to each other reasonably and with respect. I dig on that.

So...this isn't the end of 99 Seats or anything. Just...a new stage. Come visit me over at Isaac's.

Happy Birthday, Will

This should make you feel young again.



No matter our differences, or the outbursts of snark, we're all Friends of Will.

Quote of the Day

The always awesome Ken Lin, as interviewed by Adam Szymkowicz:

Theater really reminds me of an organic food store that just closed in my neighborhood. When I first moved here, I thought, "Wow, there's an organic food store here. This is a great neighborhood." But I never shopped there because everything was so expensive. They are liquidating now and everything is 50% off and I went to buy some things. I went to a counter with all these boxes that were covered in dust and when all was said and done, I still thought that it was too expensive. I think theater is similar. Who wouldn't want a theater to open up in their neighborhood? But, can a community afford to sustain these theaters under the current models? The answer is clearly -- no. Too often, we are in the business of catering to wealthy people, while leaving everyone else sitting in front of the tvs with their microwave dinners. What are we left with? Over-priced, dusty boxes of well-intentioned food. If I could change one thing to change this system, I'd do it, but I don't know what that one thing is.

And also, congrats, Ken!

Through The Looking-Glass

This is where we are now. Republican candidate says off-hand dumb thing. Republican candidate actually repeats dumb thing. Today, Republican candidate goes even further and continues to repeat dumb thing.

This is the leading Republican candidate to replace Harry Reid. And I'll bet you a chicken that she will continue to be. Because this is what we're dealing with.

I'd like to think that we're coming to the bottom of the barrel of crazy. But somehow...I doubt it.

It's going to be a long year.

The Single Most Important Question of All Time!

Answer away!

Yes, Stop The Madness

Aggh. Aggh. Aggh. Aggh. I've been feeling a bit ornery and cranky lately, which is one of the reasons I've been running silent lately. I don't think there's much to be gained from being a public nuisance. But. Well. This kind of pisses me off. The whole thing that went on with Tom a couple of weeks back has stuck in my craw for a bit and I've been wiggling it around and around to try to figure out what it bugs me about it and it's taken me until now to get a better handle on it.

To refresh everyone's memory, Tom wrote this. I responded thus. In the comments, Tom said this (largely without edit):

In the first place, I'd like to say that many of my writings have little in common with what I actually do in my day-to-day teaching. They are things I think about, toss over in my head, muse about. I share them in my blogs partly as a way to clear my head, partly as a way to think things through, and partly as a way to make other artists think about these things. These are not necessarily things I say in class, but when I do say them, I always preface them with a caution that these are my personal opinions and observations, that they are not gospel, and they can take them or leave them. I even offer them the possibility of considering that my opinions are, as has been suggested here, the rantings of a bitter old man - I do not hide that possibility from them. What I actually do - every single day - is my best to prepare them for the careers they aspire to - every facet of those careers that I can think of. Obviously, you have only my word for that as well, but if you'd like to investigate it, please do. There are many Fredonia alums in NYC.

For the record, it is absolutely and unequivocally my practice every single day in my classroom to do whatever is in my power to help my students succeed in reaching whatever goals they set for themselves. In the particular case I quoted in my TACT blog, the young man in question was in my office just yesterday where I had a 30-minute discussion with him talking about his talent, his potential for success, and what he needed to do to make his dream come true. We also talked about the scene he had just done, which was in fact pretty good. Never once did I say to him, "You're untalented and foolish and you should think about digging ditches." I made sure he understood how difficult it was, that the odds were not in his favor, and that he would have to have no small amount of pure luck, but he was bringing some good qualities to the table. Never did I express to him I thought he was being unrealistic. Frankly, that's none of my business, and he is paying me to help him succeed. You'll have to take my word that I did that as well.

In other words, the portrait about my teaching practices being painted here have no foundation in reality to them. They are assumptions readers and commentators have made; none of them have actually seen me teach. These assertions and assumptions have been drawn from the private ramblings that go on in my head, the various things I think about and write about. I would encourage the readers of my writings to assume the opposite - that I keep my private thoughts and my classroom practices largely separate, and generally I offer my own private thoughts to my students only when pressed. You, as a reader, are actually getting to read things going on in my head that my students almost never hear (unless they are reading my blogs as well, which could be possible, but I am not aware that is happening). I teach in a pre-professional program, and that's what I train my actors for, but I make sure they understand every single aspect of that career, its warts as well as its rewards. I am working to change that, working to be able to offer alternatives, and working to find those kinds of students interested in a different approach to doing theatre in this country. I don't like the waste of talent I see in this country - it's not sustainable. When I have the kinds of students interested in sustainable, community-grounded theatre, I will leave the pre-professional training to others, and I will switch my practices and focus on giving those students the kind of education they want.

And now this from Scott. This is normally the part where I profess my respect and affection for Scott and my support, though qualified for his positions. But...I'm feeling ornery, so not this time. I think this whole line of...whatever is crap. And, before you start in (and by "you," I mean Scott) with this being about me defending NYLACHI's evil, evil ways, I think it's crap because it's an impossibly, ridiculously and utterly out of touch way of looking at the business of acting and the ways actors make money and live in places like New York. In fact, I think it shows an odd fixation with NYLACHI (and essentially Broadway) as being the way Scott and Tom measure success.

First off, I will say this: I was wrong to imply or even state that Tom's post was or should be taken as a reflection of his teaching style or attitude. I don't know how he teaches or the way he conducts himself in front of his students and I shouldn't imply anything about that. And, yes, I do understand that a blog post can be a good way to blow off steam or give voice to the things you don't think you can say in other situations. That said, I do think it's naive to think that, if you're blogging under your own name, that your students don't know about it. Playing the "I don't know if they ever read it" card is just abdicating responsibility. So, apologies, Tom.

But Tom's teaching isn't the actual question. The question is the attitude underneath it.

So Scott and Tom think it's nuts for 1,000 people to line up for an open call for Hair on Broadway. It's a sign of NYC being bloated and over-run with young actors who are just wasting their talent at auditions for a limited number of roles that they're pursuing, at least in part, because of a TV-fed desire to get famous. The numbers, odds and systemic barriers to they're ever appearing on Broadway make it just ridiculous for them to try, so we need to re-think our entire system, which is based on actors dreaming of appearing on Broadway.

Okay. Where do we start? I guess, I start with Dennis' video. Yep, that's a lot of people! And yep, Equity open calls have a lot of people there! And yep, an actor needs to take all day sometimes to go to one. I've known people who couldn't, people who had to leave, people who got screwed over by it. I'm not saying it's the fairest way of doing things, but you know, job interviews for any position rarely are. We also don't get a sense of who got seen, what the experience was like, what happened next for any of them. Did any of them get cast? How many? How many parts were they looking to fill? The full cast of Hair is 32 people. Not great odds, no, but not the worst in the world. One three minute video of a lot of people doesn't actually tell a story, other than there are a lot of people who want to be in a Broadway show. We don't even know what kind of training, if any, these folks have. We know nothing about them except they want to be in a show. We don't know if any of them are already in shows or have other arts jobs or

My issue here, though, is with Scott and Tom's very, very narrow definition of success and waste. Not being on Broadway, not winning an Academy Award is a waste, is talent thrown away. Scott fixates narrowly on the unemployment rate for Actors Equity as the definition of success. As far as Scott's concerned, New York theatre begins at 40th St and ends at 53rd, in a way that, as a New York theatre artist (and a native New Yorker) is not what's it like here.

This isn't the part where I say how great the talent is here. That's not what it's about. It's about the path of an artist and the path of an actor and that there are lots of ways and roads to satisfying work. From outside of NY, maybe it looks like making it to Broadway is the goal of everyone, but from here, you know what? It's not. I'm not saying the city is swimming in lucrative acting jobs, but there are other paths and options. And some of them don't involve the stage at all. And I don't see it as a waste.

It can be a struggle and there are trade-offs and hard choices involved. And, yeah, some people wind up leaving the field. But that's going to happen, no matter what. And some do go back to small communities and form theatres. And you know what? Some get jobs in television. Some make commercials. There are a whole raft of things between not acting and being famous, a whole lot of other ways of being successful. I think that Scott and Tom get that, but instead focus entirely on the narrowest bandwidth as "successful" and want that bandwidth to stay just as narrow, but move a few spots down the dial.

I really don't understand the whole attitude. I actually I do understand it. It's bitterness. When people say, "no one owes you a career in the arts," it's that bitterness that they're responding to. We're all familiar with the stereotypical acting teacher who couldn't make it and pushes his or her students to succeed. This feels to me like the flip side of the same coin. I'm sorry to say it, but it does.

I think CRADLE's a grand thing, I do. And necessary. But if these guys want to stop the madness...well, stop the madness. Let it go. The kids will be all right.

Quote of the Day

Steve Benen edition:

What's the point of even having a public discourse when the leadership of a political party treats the truth like a punch-line?

Now would be a terrific time for a real debate. Republicans could -- get this -- raise legitimate objections to the legislation, and raise concerns that -- believe it or not -- are entirely sensible.

But, no. We can't have real debates because we're too busy suffering through idiotic mendacity.

Note to Republican leaders: liars become pathological when the truth works just as well, but you actually prefer dishonesty.

Well...When You Put It Like THAT...

A lot of what we do sounds really, really bad in black and white. And in terms of things like, you know, the law. As the folks of the New York State Theater Institute apparently just found out.

An obscure upstate theater group that receives far more state aid than any of New York’s world-renowned cultural institutions is rife with corruption, mismanagement, nepotism and possibly illegal conduct, according to a scathing report released on Tuesday by the state inspector general’s office.
(...snip...)
The report alleges that the artistic director, Patricia Snyder, treated the group as a personal fiefdom, routinely doling out acting roles, directing jobs, production work and other benefits to herself and her family members. Ms. Snyder steered a total of more than $700,000 in payments to her husband, her two sons, her two daughters-in-law and to herself, the report said.

The big-ticket items? Patricia Snyder hired herself as a director and double-dipped on her pension fund through the SSDC (which the article makes sound like some fly-by-night outfit run by either the Chicago Combine or gypsies). She produced an audiobook written by her daughter-in-law, composed by her son and co-produced by her husband. There's some implied stuff about an apartment in the city supposedly for the company but used by her family...which appears to include a number of the artists involved. That's pretty much it.

Now, I don't know these folks or the particulars of this case and there may be real actual shenanigans afoot. If not shenanigans, sketchy business practices with state money, which is, obviously, bad. But...at the same time...where's the line between nepotism and what's essentially a small family business? (Again, I'm not saying they should be enriching themselves off of the public teat or not serving their community; but the entire article treats all of this like a RICO indictment and these "jobs" making "theatre" were essentially no-show or no-work jobs that Tony gave to Chris.) Where's the line between building and becoming a part of a community and being a flim-flam artist who's soaking them for their hard-earned dough. I've heard that Diane Paulus has run into some of the same questions up at Harvard with her production of The Donkey Show and when I read the Globe article a few weeks ago, I had some similar reservations. Certainly there are some questionable aspects to it...but part of it is...well, it's the business of show. We marry people we work with. Sometimes we work with people so that we might...um...marry them. We raise our kids in the theatre, teaching them the trade. (Yeah. Let's put it that way.) Our work is often underfunded, undersupported and, because artists are at the shallow end of the payment pool, underpaid. So we figure out ways, sometimes sketchy ways, sometimes less than totally above-board ways, to get paid. When the hammer comes down, though, it's always on the chiseling individual who's betrayed our trust, never on the system that makes it possible...and sometimes necessary.

But when you look at it in cold, black-and-white letters in the paper of record...yeah, it does sound more like Tony Soprano than William Shakespeare. But how do we fix it without making doing theatre an onerous thing that separates families rather than brings them together?

Quote of the Day

Lisa Timmel edition:

So, why new plays? Because the world changes and perspectives shift. Because American theatre, in all its forms, thrives on the new, it always has. Our theatre history is full of the degenerate melding of forms: immigrant melodramas, minstrelsy, vaudeville and musicals all of them bubbling up into the mainstream one way or another and getting whitewashed along the way. There simply is no other way to tell the story of this country and our selves without including new work.

Incidentally, the answer to the question “Why classic plays?” is exactly the same: Because the world changes and perspectives shift. There simply is no other way to tell the story of this country and our selves without including plays from other places and other eras.

H/T, as per usual.

Mike Huckabee's a Pig

I used to have some measure of respect for Mike Huckabee, I really did. He seemed like a genuinely good guy, despite being someone I disagree with completely. I actually used to think he was a real electoral threat, since he was so nice and reasonable and personable.

Yeah. Not any more.

"I think this is not about trying to create statements for people who want to change the basic fundamental definitions of family," Huckabee said. "And always we should act in the best interest of the children, not in the seeming interest of the adults."

"Children are not puppies," he continued. "This is not a time to see if we can experiment and find out, how does this work?"

Even after box turtles, man on dog, the end of marriage as we know it, that's is still one of the more disgusting, wrong-headed and bigoted statements I've ever heard. In any right and reasonable country, this would end his aspirations to higher office. Someday I hope to live in a right and reasonable country.