THE GREENROOM DISCUSSIONS

THE THEATER MIRROR, Boston's LIVE Theater Guide
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THE GREENROOM DISCUSSIONS

note:

entire contents copyright 1996 by THE THEATER MIRROR


The Greenroom Discussions is your forum for issues, commentary and reviews written by you, the theater-goer. It is arranged by the most current item first. Discussions may be deleted, periodically. Please email us at greenrm@shore.net


Date: Sat, 20 Apr 1996 11:56:19 -0700
From: sharyns@ix.netcom.com (Sharyn Shipley )

Larry - You got the script. And I sent out a hard copy.
and NOT A WORD!
arrggghhhhhh
Best
Sharyn

What I learned from the reading:

ACTORS ARE WONDERFUL!
especially:
Jason Collins ........... Horatio
Anna Orme ............... Felicity
Carrie Nath ............. Ophelia
Mark Shelby ............. Claudius/Ghost/Bernardo
Bonnie Wallace-Hoffman .. Cook
Roy Ketterer ............ Osric/Reynaldo/Clown

and I am lucky to have had them on board for the maiden voyage.

I'm now listening to the tapes. I see possibilities for improvement on three levels.
The words themselves where I can twitch the dialogue to clarify meaning, intent, interactions and/or foreshadowing. And also to make them read more clearly and quickly ( i.e.using contractions). The dialogue interactions between characters - where giving a line would indicate agreement or conflict.
The characters: Most are well developed, but Osric is still too simple. I'll enjoy working with him.
and a certain structural change in the last scene. Felicity needs more active participation. But I think I have that worked out. In my mind at least.

The Torchlight Theatre in Indiana is setting up a chat room to discuss the possibilities of "The Ultimate Hamlet". Be still my beating heart.

Best to all
Sharyn Shipley


Date: Fri, 26 Apr 1996 08:05:08 -0700
From: sharyns@ix.netcom.com (Sharyn Shipley )
Subject: Re:Excellent critique

I have to think about it more. Then I'll respond, point by point. Please re-read the last 2 1/2 acts. After all, you did say you weren't feeling well.
Hope you're feeling better.
Best
Sharyn

Oops - almost forgot - another reading of the play in Los Angeles on May 3. AND there's a theatre in Seattle talking to me about doing the Ultimate Hamlet!
wouldn't it be nice?
S


Date: Mon, 29 Apr 1996 16:14:33 -0700
From: sharyns@ix.netcom.com (Sharyn Shipley )
Subject: Another reading

Dear Larry,
This is getting very interesting -- another reading. This one in Santa Monica with a full complement of Shakesperean actors. And there's a theatre in Seattle that has a building and is planning to do Hamlet... and is planning to talk to me. I'm about to find out how convincing I really am.
Am getting page by page help with verse from Carrie Nash - who has studied it. I forget the friendships forged under the fire of a new script. She is explaining to me what happens to actors when the script switches from verse to not verse. And how to employ those changes to the script's advantage.
So I'm off to LA. I'll keep in touch.
Best
Sharyn

Dear theater people:
The Theater Mirror (http://shore.net/~greenrm) has been getting a lot of questions lately that I cannot answer. I put them into THE GREENROOM DISCUSSIONS section and, quite often, answers appear out of the Internet I never expected.
The letter below, however, cries out for broader attention. Some of you may be able to answer with authority whether Yale is what Yale was, and I hope your advice to Justin will be useful.
But the whole question of "training" ought to be examined more fully. A friend brought me a program from London and all ten actors had bio's that started "Trained at..." Except, of course, the star!
Do American actors "train" for this profession?
SHOULD American actors train?
And if so, where?
I can't answer these questions, so I'm asking a scattershot selection of people we've heard from to think about it and, if you have the time, get back to us (greenrm@shore.net). Oh, and feel free to pass this around to colleagues who might want to put their ideas into play. I'll hold replies a week, and then start the whole Theater Mirror with the discussion. This end-of-semester season it's doubly appropriate.
Break a leg all!

Love,
===Anon. (a k a Larry Stark)

Sub: The Yale School of Drama

Date: Tue, 23 Apr 96 14:41:59 -0700
From: Em Dekonor
To: greenrm@shore.net
Subject: The Yale School of Drama

Larry,

I will be graduating from undergrad training next year and am considering various graduate training programs.

What do you know about the Yale School of Drama? Is it still considered the finest training program in the country or are they riding on a reputation which was established in the past? What's the latest rumor about the school?

Sincerely,

Justin


Date: Fri, 26 Apr 1996 11:03:44 +0000
From: kb004e@uhura.rochester.edu
To: themirror@shore.net
Subject: playing the piano for a summer theater

Hello! I am moving to Boston this summer and I'm interested in finding a summer theater to possibly play the piano for! I'm interested in accompanying and especially in playing for a show. If you know how I can get in touch with someone or if you know someone TO get in touch with, please let me know. Thanks.

Sincerely,
Suzanne Lehrer
szlr_ltd@uhura.cc.rochester.edu


Date: Wed, 24 Apr 96 17:00:01 0400
From: Elizabeth Haight
Sub: Dreamchasers, Inc.

Hi Larry,

I am writing this for Rosann Weeks (btw, she believes she knows you from the Boston Theatre scene in the 60's & 70's). Rosann is in the process of forming a nonprofit Theatre School and Performance Center in the South Shore area of Mass, which will service students and audiences of all ages, ethnic backgrounds, and beliefs.
Why?
Albert Einstein said, "Imagination is more important than knowledge." We agree.
And we believe that the state of today's world supports his statement. In our Theatre School and Perf Ctr. we want to explore, nurture, and enable the growth and use of Imagination through the Art of Theatre. Why the art of theatre? It is the most dynamic and effective teaching tool. It offers to each individual the opportunity to use him or herself fully and then to work creatively in a collaborative manner.
So, why am I telling you all of this? On May 19th at 1:00pm we will be holding a performance and fund raiser at The Lansdowne Theatre in Boston, and we were wondering if we could send you some more information to post in the appropriate place on your web page. Additionally, for more information be sure to read this Sunday's Globe in which an article about Rosann's current production, Up the Down Staircase, will be featured.

Please let me know if I can provide you with more information. Thanks for listening, and keep up the great work with the web page! :->

Sincerely, Elizabeth Haight


LARRY STARK REPLIES:

Rosann M. Weeks.......
I first saw that name as director of a summer production of "Night of The Iguana" in the screening-room theatre of the B.U. Student Union. She did it on a stage 40 feet by ten, with no flies, no backstage, and a grand piano that no one would allow her to remove from the stage --- and with "the Richard Burton part" played by a guy who was twenty-one and funny. It was not the play Tennessee Williams had in mind, but She used the materials she'd been handed, and made a production to be proud of.
Then one night I crawled through snow-drifts to review "A Phoenix Too Frequent" in the basement of Boston's Old West Church, where Roseann had built a 60-or-so-seat theatre where she did a new play every five weeks for several years, with a dedicated repertory cast that stuck together.
In 1972 I taught a course in reviewing at Tufs, and used one of Rosann's shows as a "homework assignment". I asked one of her actresses in to talk about theater, and eventually asked her how much she got paid. "C'mon, Larry!" she giggled, "You know none of us get paid. We work in department stores, rehearse before and after performances, and do dress-rehearsals on week-ends. But, no, none of us do it for money." She had worked with Rosann for over a year under those conditions. She didn't have to say why.
I was once too sick to review one of her plays, and my "Critic's Notebook" lament that if I didn't no one else would actually shamed Samuel Hirsch --- third-banana reviewer after Eliot Norton and Kevin Kelly at the Boston Herald-Traveller, which merged with the Record American and sent him to Miami --- into reviewing a theater company so small he thought it beneath his dignity. (The show was "Murder in The Cathedral", an unplayable script done upstairs in the church. Roseann made it bearable, but it was work.)
Yeah, I remember Rosann Weeks. Does she still look like a grinning round bowling-ball with bangs and black eyes that never missed a detail? I always thought she should have been a tenured fixture of the B.U. theater department, where generations of young theater people could feel the dedication to excellence that informed everything she ever did.
What can The Theater Mirror do to help?


Date: Sat, 20 Apr 96 14:53:04 0500
From: Richard Teeple

My name is Blair Teeple and I was in the play with Donny Osmond here in Detroit, Michigan. I had a wonderful time. The cast and Donny were great to us, and very special. For those who are in it now, you will never have an experience like this. For those people who have not seen the play by all means see it every penny is well spent. My parents saw it 5 times. My parents said they came out feeling so wonderful and so high. Would you pass a note on to Donny and the cast, thank you so very much and hope to see you again. We will be in New Jersey in August and would like to come to Boston to see the play, but I don=B9t know how far Boston is from New Jersey or if the play will still be in Boston. If any of the cast members would like to e-mail a note please feel free to do so. My Dads e-mail is (rteeple@mich.com) again thanks.

Blair Teeple

Date: Mon, 22 Apr 1996 21:28:59 -0400
From: "Gottlieb R. Stoll"
Subject: Phantom of the Opera

Hi,

I would like tickets to "Phantom of the Opera" and have a low budget and would like decent seats. Ticket Tron is rather expensive. If I could pick them up at the theater would they be a reasonable price?

Thank you,
Guppy


Date: Tue, 23 Apr 1996 13:23:37 -0400
From: James Cooke
Subject: Another question

Larry:

Another question. A friend of mine and fellow writer has been approached about literary representation by a guy name George Tobia at the firm Burns and Levinson.

Have you ever heard of him? If so, drop me a line here or to my other e-mail address: cooke@ultranet.com

Thanks again for your help

James Cooke


LARRY STARK REGRETS:
I can't answer your question, but luckily I'm not alone here. Anyone? .... Now, let's not always see the same hands...


Date: Tue, 23 Apr 96 14:46:02 -0700
Subject: The Yale School of Drama
Larry,
I will be graduating from undergrad training next year. I am considering grad school as an option.

What can you tell me about the Yale School of Drama?

Is it still considered the finest training program in the country--or are they "riding" on a reputation which was established in the past?

How selective are they?

How can being an alumni of the school aide one in the future?

I would appreciate any and all information you can give me.

Thank you,

Justin
Hartj@smu.post.edu


LARRY STARK REPLIES:
Again, I'm not alone in The Theater Mirror, so I'm interested in the answers other people have!
Love,
===Anon.

From: Mort Kaplan
Subject: Please Post on Coming Events
Date: Thu, 18 Apr 1996 17:13:10 -0400 (EDT)

SubUrbia by Eric Bogosian will be playing at the NU Studio Theatre May 16-18;22-24 at 8PM. 360 Huntington Avenue. Directed by Janet Bobcean for the NU Theatre Department. Tickets: $6 and $8 For reservations: NU Ticket Center at 373-2247.


Thank you. For some reason could not get into your www greenroom board posting. My Best.

Date: Sat, 20 Apr 1996 11:56:19 -0700
From: sharyns@ix.netcom.com (Sharyn Shipley )
Subject: reading of Hamlet: the Women
To: greenrm@shore.net

Larry -
You got the script. And I sent out a hard copy. and NOT A WORD!
arrggghhhhhh
Best
Sharyn

What I learned from the reading:

ACTORS ARE WONDERFUL! especially:
Jason Collins ........... Horatio
Anna Orme ............... Felicity
Carrie Nath ............. Ophelia
Mark Shelby ............. Claudius/Ghost/Bernardo
Bonnie Wallace-Hoffman .. Cook
Roy Ketterer ............ Osric/Reynaldo/Clown

and I am lucky to have had them on board for the maiden voyage.

I'm now listening to the tapes. I see possibilities for improvement on three levels.

The words themselves where I can twitch the dialogue to clarify meaning, intent, interactions and/or foreshadowing. And also to make them read more clearly and quickly ( i.e.using contractions). The dialogue interactions between characters - where giving a line would indicate agreement or conflict.
The characters: Most are well developed, but Osric is still too simple. I'll enjoy working with him.
and a certain structural change in the last scene. Felicity needs more active participation. But I think I have that worked out. In my mind at least.

The Torchlight Theatre in Indiana is setting up a chat room to discuss the possibilities of "The Ultimate Hamlet". Be still my beating heart.

Best to all
Sharyn Shipley

LARRY STARK EXPLAINS:
Check out ON REFLECTIONS for fuller explanations...

From: AstorSho@aol.com
Date: Wed, 17 Apr 1996 17:43:37 -0400
Subject: Audition Notice

Hi! Please post this casting notice on your casting link. Thanks! Carrie Warsaw

Blue Man Group is a comedic performance-art percussion ensemble that has been performing in NYC for over four sell-out years. They will be in San Francisco and Seattle to look for additional performers for their Boston production of "Tubes".
Seeking: Performers with solid acting and drumming skills. Must be between 5'10" and 6'0". Mask and movement skills helpful. Must be willing to relocate to Boston. Open to Equity and Non-Equity performers.
SAN FRANCISCO OPEN CALL: Saturday, May 18th; 10am - 6pm; The 450 Geary, 450 Geary Street between Mason and Taylor Streets, 2nd Floor, San Francisco. SEATTLE OPEN CALL: Tuesday, May 21st; 10am - 6pm; Freehold, Oddfellows Hall, 1525 Tenth Avenue, 1st Floor, Seattle.

ALL NECESSARY AUDITION EQUIPMENT WILL BE PROVIDED. For more information, call Carrie Warsaw @ 212-387-9415 ext. 27 or email astorsho@aol.com

LARRY STARK WONDERS: Why these auditions aren't being held here in Boston?

Date: Sun, 14 Apr 1996 20:01:27 EDT
From: DWKD93A@prodigy.com (MR JOHN F WILSON)
Subject: carousel

Larry, I am a tv anchor-type in Tampa which is of no consequence by the by...but what may get your attention is I am Patrick Wilson's father. 'Billy Bigelow' was one of my favrotie characters of all time and I couldn't understand why Nick Hynter cast Patrick in that role until I saw him.
I am glad to get your review...the Wilsons' live in Tampa and we have seen the show a few dozen times...I know Patrick appreciates your comments and so does his Mother.
She is a singer here with our local symphony. If you do music reviews and Boston symphony concerts, she sings with Jahja Ling, our Maestro who also has conducted the Boston SO and your Esplanade concert master from tiem to time, Jo Shier has been our concert master.
Anyway, you also have a great web site and I wish I had more time to read your reviews...you live in an exiciting market and if you're ever in Tampa I am at WTVT ch 13.
Again thanks for putting your review on the web page...and I know Patrick is looking forward to Boston...Regards, John.


Date: Sun, 14 Apr 1996 20:04:36 EDT
From: DWKD93A@prodigy.com (MR JOHN F WILSON)
Subject: Larry Stark's column

Thanks for making LS's reviews available. And congrats on your web site. It shows a lot of work and a commitment to this hyper-text stuff we are all trying to figure out how to make attractive. My company has one at wtvt.com. Regards John Wilson


From: mady@tulblr.unisys.com
Date: Mon, 15 Apr 96 11:43:00 IST
Subject: Need suggestions for play scripts

Hi,
I am looking for some scripts to stage a play in our office. They need to be either Comedy or Suspense to hold the audience attention. Any suggestions from you could be helpful. We are not theatre professionals but interested in staging a play for our colleagues! And sites where i can get the scripts would be appreciated.
Thanx in advance.
Madhusekhar


Date: Mon, 08 Apr 96 20:51:38 0500
From: mort kaplan
To: greenrm@shore.net
Subject: NU PLAY/PROJECT READINGS

Ed Bullins' new play BLACKLIST will be done as a reading on the evening of April 25th in the Itty Bitty Theatre, 3rd floor of the Ryder Building at Northeastern University. It is the first in a series of new scripts to be presented. The Ryder Building is next to the Ruggles Station on the NU side or at the end of Forsyth Street. Bullins won the NY Drama Critics Award for the Best American Play of 1977: THE TAKING OF MISS JANIE. He has also won three Obie awards and has received a number of Gugenheim's. He is teaching playwriting in the Theatre Department at NU. He is heading a new project for the development of new plays. The workshop he heads is doing new plays by Brenda Abbandolo, Todd Nichols, Mwenya Kabwe, Thomas Grimes, Darryl Alardice, Chris Hoffman, Heather Platt, Michael Kalmar, Lois Roach. Various plays run on various nights, April 25,26,27;May2,3,4 at 8 PM. Itty Bitty is in 334 Ryder Hall.
Perfs. start at 8 PM. The place seats about 40-45 and admission is free. For further information call Department of Theatre @ 373-2244.


Date: Mon, 08 Apr 1996 11:37:55 -0400
From: James Cooke

Larry:

You were kind enough to answer a couple questions I had regarding
New ENgland theatre a while back so I thought I try again.

1) Do you have a phone/contact for the Lansdowne Street Theatre (the
one that's part of Mama Kins)?

2) Do you know how I can get in touch with a director named Peter Kelley?

Thanks
James Cooke
E-Mail Address: JACOOKE@Cahners.com

LARRY STARK REPLIES:
We have three phone-numbers for Landsdowne/MamaKin:
1(617)931-2000; 1(617)262-0660; 1(617)536-2100
But I have no idea how accurate or up to date they are.
The ACME THEATR worked here and we list their web-page.
But about Peter Kelly, all I can do is put this up
and see if anyone else can tell you.
Love,
===Anon.

Date: Thu, 04 Apr 1996 22:40:50 +0000
From: Stuart Larson

Larry, babe, your "note of obstinant pedantry" about theater vs. theatre
is interesting, but...sez who? Look it up in the dictionary--the words
are interchangeable. No offense, but I probably should trust Mr. Webster
more than I trust thee.

And as the word is "obstinate", your credibility is a little suspect...
Of what exactly are you a "critick", anyway?

Interesting page, though. Couldn't help but jab you a little.:)

LARRY STARK REPLIES:
Stuart, bubbie, your Webster talks about current usage, and
language is in constantly self-recreating flux. The word gets
spelt quite arbitrarily these days, even in the names of companies
and playhouses, and your Mr. Webster is correct in that. But I
think the matter gets quite a different historical treatment in
the Oxford English Dictionary, which will tell you about
historical usages and spellings of words. And "sez who?" Well,
sez ME! I'm obstinately insisting on a dfistinction that might
even be incorrect.

But at least I got email about it!
Thanks for the attention.

Love,
===Anon.


Mon, 1 Apr 1996 17:37:21 GMT

Subject: Sharyn's HAMLET

It sounds fabulous!

E

Sub: Me! me!!!! Pleasepleaseplease

Subject: Me! me!!!! Pleasepleasepleaseplease!!!!!

E Grace Noonan

e.noonan@hlo.mts.dec.com

LARRY STARK REPLIES:

Well, we DID warn you that "Hamlet -- The Women" was a HOT TOPIC, didn't we! There's a lot more about it over in ON REFLECTION.


THE THEATER MIRROR, Boston's LIVE Theater Guide
| MARQUEE | USHER | INTERMISSION |