For Hire, Gender-Equality, Theatre Relationships and More Local, National, and International News to Inspire, to Stir, and to Entertain

The Lemon

The Lemon



Darkness Comes Alive 7/6/18. Photo by Evan Lorenzetti.

Listen and Darkness Comes Alive

The sound is not the first thing you notice when you enter the Lili Lakich Studio, but it is the most surprising. You are surrounded by neon artwork created in Lakich's studio, but after a few moments you hear the most calming sound, a slight hum coming from the lights. White noise, maybe a few bursts of static, and immensely calming, meditative. The last thing you might expect from a room filled with so much light is to find such a soothing sound there. read more here

Audio Interview: The cast of “The Road-Trip Monologues” at Zephyr Theatre

Curated from over 25 submissions from writers all over the world, The Road-Trip Monologues is a RAW BiTES '18 page-to-stage production of new writing for stage. listen to the interview here

Audio Interview: Armin Shimerman (Quark of "Star Trek: Deep Space Nine") in the Antaeus Theatre Company's production of "Three Days In The Country"

A fresh, breezy update by Patrick Marber of Turgenev's classic comedy A Month in the Country, this is a tale of unrequited passion, unfolding over the course of three days in the sunny Russian countryside. Full of wit, folly and heart, men and women, both young and old, learn the tender and ridiculous lessons of love. listen to the interview here

The Broadwater Plunge Unveils First Cocktail Menu

Five Drinks, Each A Nod to Duffy Family's History in Bars

The Owl menu is a reference to the rural Montana bar Patrick Duffy's parents, Terry and Babe, owned and operated when he was a child. Each of the five drinks on the menu is named for a particularly colorful regular at The Owl. read more here

NOW HIRING: Fountain Theatre seeks a new bookkeeper

The Fountain Theatre seeks a friendly, motivated individual to fill a part-time position as a Bookkeeper. Must be a team player with a positive attitude who understands and enjoys the non-traditional work environment of a non-profit theatre arts organization. The ideal candidate will possess experience in essential bookkeeping functions, such as managing accounts payable and receivable and preparing payrolls, invoices, and financial reports, reconciling bank accounts, and have a solid proficiency with basic accounting principles. Qualifications include proficiency with QuickBooks Online, a bachelor's degree (or equivalent) and an ability to work within a team setting. Ultimately, the Bookkeeper's responsibilities are to accurately record all day-to-day financial transactions and reporting requirements of our organization. read more here

Walking the walk: Art for art's sake is simply not enough anymore

By Bobby Steggert - About two years ago, I completely turned my back on an acting career that I had spent twenty years building. I found myself increasingly discontented by the lack of control that every artist must submit to, and I found myself nauseatingly self-concerned in a job that threw me off balance enough to never quite feel stable. That, and as the world spiraled into the surreal chaos that continues to swirl around us today, I found it harder and harder to justify my contribution as enough to make a significant difference. read more here

Lileana Blain-Cruz and Dominique Morisseau (Jeremy Daniel)

Stage Directions: Why Lileana Blain-Cruz Believes in Making Theatre an Epic Event

The Obie-winning director of PipelineRed Speedo, and more reveals her directing philosophy, early career missteps, and her pitch to the Park Avenue Armory.

“I'm attracted to the epic-ness of theatre,” director Lileana Blain-Cruz says. “Because it's the thing that makes theatre feel unique amid a lot of different forms and a lot of different distractions. If we're all alive inside of a life-giving event, it's thrilling.”

Blain-Cruz, an Off-Broadway Obie Award winner for her direction, currently helms The House That Will Not Stand at New York Theatre Workshop, now playing through August 12. The play by Marcus Gardley is inspired by Federico García Lorca's The House of Bernarda Alba and is set in early 19th-century Louisiana, after the Louisiana Purchase. It deals with the lives of four women of color: a widow and her three daughters. read more here


Book brings theatre journey home

ROCHESTER, NY (WROC-TV) - A new book by Rochester based theatre director Eric Johnson examines how dreams of Hollywood stardom led him to pursue his passion here at home.

Johnson discussed his book "My Quarter-Life Crisis" Monday during News 8 at Noon.

"For many years growing up in Pittsford, I really thought all of my life I was going to go off to Hollywood," said Johnson. "I was going to go off to New York. I was going to go off to one of these big cities where they have so much art, they have so much with movies and with Broadway shows, and I was going to become the next Steven Spielberg. Throughout all the role models and teachers I met along my journey from high school, college and everywhere in between, I found out that may not be the right path for me. Maybe being right here in Rochester, I can make difference locally. That's kind of where the book started and where the idea kind of came from." read more here

Music Theatre International Files Legal Action Against Virginia Community Theatre

The complaint states that Theaterpalooza Community Theater Productions, Inc. has presented at least 16 illegal and unlicensed productions.

Music Theatre International has filed a complaint against Theaterpalooza Community Theater Productions, Inc. in the Federal District Court for the Eastern District of Virginia for presenting at least 16 unauthorized productions of MTI titles.

Theaterpalooza, which operates in and around Ashburn and Leesburg in Virginia and Hagerstown, Maryland, offers youth musical theatre classes that culminate in full productions of various musicals that are open to the public. Students pay tuition of up to $600 to participate, and the theatre also charges $12-$15 per ticket for the public performances of its shows. read more here

Join Our Team! BWW Is Seeking a Full-Time Entertainment Editor

BWW is on the hunt for a new member for our team- a full-time editor of our MoviesTV and Music sites.

Applicants should be pop-culture junkies (theatre knowledge can't hurt, but not required), with excellent writing skills, great attention to detail, and a strong, self-motivated work ethic. The ideal candidate must also be able to multi-task and write quickly. Proficiency with Office programs and Photoshop is essential. read more here


Lyn Gardner: Finding a good mentor is crucial for a successful theatre career

In Daniel Kehlmann's The Mentor, seen at the Ustinov in Bath and in the West End last year, F Murray Abraham played an elderly writer living off the acclaim – and the royalties – from a play written when he was 25. During the play he is paid handsomely to mentor a rising young writer, but this transactional relationship turns out to be anything but nourishing.

In the real world, however, mentoring – both informal and formal – is often a crucial but hidden part of successful careers. Eddie Redmayne may have won an Oscar, but he still rings up his old school drama teacher for advice. read more here

Theatre Republic producer Manda Webber and director Corey McMahon (photo by Olivia Zanchetta)

Theatre for Generation Netflix

New performing arts company Theatre Republic tells modern stories worth getting off the couch for.

Adelaide and the Arts; a quintessential odd couple. On the one hand we're “The Festival State” with arts and fringe events among the world's biggest (when you're talking revenue). On the other, our audiences are notoriously apathetic outside the frenzy of Mad March, making it difficult for artists to sustain year-round careers.

This isn't news to local theatre-maker Corey McMahon. “If I had a dollar for every time I heard my non-theatre-going friends say, ‘The Fringe is on. I might go and see a show' – as though it's a special, one-off event – I could probably fund my shows.” read more here

Theatre relationships: ‘Real life is a lot less complicated.' | Photo Credit: V. Sreenivasa Murthy

For better or for worse: the pros and cons of theatre relationships

Last month I attended what I like to call a “theatre wedding”. Two people, involved in theatre, but more importantly two people who met because of theatre, exchanged vows/ took seven circles of fire/ entered into a holy union, surrounded by a fair amount of theatre people. A few years ago, both of them were replacements in an outstation play. And they fell in love on the flight back, thanks to a common love for scuba diving, Shah Rukh Khan, and, probably, theatre.

I've seen quite a few theatre weddings. I've also seen an unfortunate theatre divorce. Theatre relationships are a dime a dozen, but I'm focusing on more legal commitments here. I guess in some ways a theatre wedding is like a workplace wedding. Same environment, similar interests, regular contact, shared experiences, and something clicks. Mine was a theatre wedding too. read more here


A group photograph to mark the final major public event after a full year of campaiging by Waking The Feminists on The Rosie Hackett Bridge in Dublin. Photograph: Dara Mac Dónaill/The Irish Times

Yes we did: Irish theatre's gender-equality revolution

Irish theatre came out blazing this week, proving that gender equality is ‘not hard to do, if you want to'

What a difference a couple of years can make. Some top players in Irish theatre are chatting in the Lir Academy of Dramatic Art in Dublin. Anne Clarke says “there's a certain element of: just do it. Gender equality is not a hard thing to do, if you want to. This change came about because of a decision, to reverse inequality and give more opportunities to women.”

Lynne Parker observes that the situation “has changed so much already. And it's still changing.” Sarah Durcan says: “When we started doing this, none of us knew about unconscious bias, dignity at work policies or anything. So that language and knowledge has passed not only into the theatre sector but wider. We always said we wanted this movement to be a catalyst for change everywhere.” read more here