If you could compose like this man, you too might look smug.
A weekly compendium of the articles what I read, and enjoyed:
The gray lady earned herself some indie cred with a profile of charming tunesmith Michael Friedman. Although we might take some issue to the “Composing for Shakespeare while Listening to Timberlake” headline. Both immensely popular entertainers, both occasionally sporting earrings, both bringing the sexy back—are they really so far apart?
In an article on understudies, the Guardian discovers what it’s like to step into the sizable shoes of Richard Griffiths—with very little notice.
How do you do it? "Self-deception, mainly," says Haigh wryly. "It's a sort of confidence trick against yourself. You force yourself into a pretend calmness - and, at first, I came on with the script."
On the Guardian’s blog, Lyn Gardner takes the measure of women writers’ liking for experimental forms and male critics’ ensuing displeasure. And Brian Logan and Michael Billington very nearly have an articulate and exquisitely mannered fight. In somewhat related articles, Logan praises collaborative theater while Billington longs for productions that focus less on “collective endeavor” and more on writing star-making roles.
In the New York Sun, Kate Taylor offered some excellent advice for freelance directors looking to make a living at it, recommending labs at Lincoln Center and Soho Rep and fellowships offered by NEA/TCG and the Drama League. But she does offer the somewhat puzzling comment that “Several now prominent people got their start at Theatre for a New Audience.” Last time we checked, TFANA wasn’t offering gigs to kids fresh out of drama school.
And in the “My eyes! My eyes!” category, I did happen to glance at an announcement of a Little House on the Prairie musical starring Patrick Swayze. End times, clearly.
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