Playwright

How Writer-Director Robert O’Hara Decides Which Plays to Direct and Which to Hand Over

BY MERVYN ROTHSTEIN via www.playbill.com It’s a unique voice, an exciting young voice, dealing with issues around race and identity and sexuality,” Obie-winning director and playwright Robert O’Hara says. “New ideas and new thoughts. I love plays that capture the imagination, that take you on a ride and an adventure. And I think this play does.” O’Hara is talking about Jeremy O. Harris’ Slave Play, which O’Hara directs at New York Theatre Workshop. The play, about black and white in white America, was called “willfully provocative, gaudily transgressive and altogether staggering,” as well as “furiously entertaining,” by The New York Times. Robert O’Hara and Jeremy O. Harris Marielle Solan O’Hara often directs his own plays, but recently directed works by Kirsten Childs and will direc...

Q&A with RSC head of voice Kate Godfrey

BY TIM BANO via www.thestage.co.uk With a remit covering vocal techniques, teaching dialects and interpreting text, Kate Godfrey coaches the Royal Shakespeare Company’s actors to make the most challenging lines comprehensible on stage. She tells Tim Bano why striving for clarity rather than sounding posh is the key to making yourself understood A few years into his career as a lawyer, the ancient Roman orator Cicero, the man who practically invented many of the techniques of modern rhetoric, decided he needed a voice coach. There’s an extraordinary continuity that two millennia later, ahead of the West End opening of Imperium, the Royal Shakespeare Company’s adaptation of Robert Harris’ Cicero trilogy, Kate Godfrey is working with the cast on some of the same techniques Apollonius Molon us...

Summer 2018 Industry Conferences – Register Today!

Literary Managers & Dramaturgs of the Americas Conference – “Crossing Borders” June 21 – 23, 2018 The Lucie and Thornton Blackburn Conference Centre – Toronto, Ontario (Canada) Literary Managers and Dramaturgs of the Americas was founded in 1985 as the volunteer membership organization for the professions of literary management and dramaturgy. LMDA is a not-for-profit tax-exempt organization with members throughout North America and abroad. LMDA holds the belief that theater is a vital art form that has the power to nourish, educate, and transform individuals and their communities and that dramaturgy is central to the process of theater-making. Registration Information All full-conference registration fees are per person and include one banquet ticket. LMD...

#TBT: May 3rd – Birthday of Lyricist Betty Comden

Throwback Thursday: May 3, 1917,  Broadway & Hollywood lyricist and librettist Betty Comden is born. “A risk was taken with ‘On the Town’, and look what happened: Betty and Adolph burst onto the scene. A shout-out to Comden & Green!” (Title of Show). Lyricists and librettist Betty Comden, of t Comden & Green, was born May 3, 1917. She and Adolph Green are known for several works, such as On the Town (1944), Singin’ in the Rain (1952), and Bells are Ringing (1956). Together, this duo’s musical comedy talents became theatrical classics that are still performed and beloved today. Born in Brooklyn, NY, Comden had always considered herself a performer, and she was first seen on the stage at the Brooklyn Ethical Culture School (jwa.org). Comden went on to major in drama at New York U...

Sarah Ruhl – On Happy Endings

BY SARAH RUHL via www.breakingcharactermagazine.com On happy endings Happy endings are not in vogue. I have noticed that ambivalent endings are in vogue — the equivalent of a character hopping on one foot as the lights go down. Playwrights might be wary of happy endings because these are not happy times. Or maybe we are wary of happy endings because we are wary in the contemporary theatre of unmixed genres — a full-out comedy, or a full-on tragedy. In Shakespeare, comedies end happily with a marriage, and tragedies end with a body pile up.  But unmixed genres are now the province of Hollywood, not theatre. Our American stages are more full of dramas than they are of comedies and tragedies. So what of a title like How to Transcend a Happy Marriage? That seems fairly bold given the climate. ...

How “SpongeBob SquarePants” Writer Kyle Jarrow Found the Story for the Stage

BY: BETHANY RICKWALD via www.theatremania.com There’s nothing quite like the world of Bikini Bottom that’s currently bubbling to life onstage at Broadway’s Palace Theatre — including the Bikini Bottom that’s been delighting television audiences since 1999. “There was the process of getting the SpongeBob world and then there was the process of getting our SpongeBob world and it’s not exactly the same,” said book writer Kyle Jarrow. “Figuring out ‘What is our stage version of that tone and that pace and that energy?’, that took a while — that took a couple years.” For Nickelodeon, the trick was in finding the right SpongeBob guy to partner with director Tina Landau in breathing a breath of fresh sea water into the suboceanic w...

You Can Believe This Play’s a Disaster

The authentic farce of The Play That Goes Wrong —By JOSH AUSTIN According to Mark Bell, farce is a high theatrical art. And he should know: As the director of The Play That Goes Wrong – a raucous new Broadway comedy – he spends his days treating the genre with the respect it deserves.                                                                                               “What we’re doing is what I call ‘clown,'” says Bell. “Which, I don’t mean ‘circus clown.’ It’s about character comedy. The first thing we’ve done is we’ve found the characters: Who are the people doing this? And their job, really, is to be a slightly exaggerated reflection of who we are as real people.” The play-within-a-play, which i...