Hey, Old Friend

What is a theatre writer’s best friend and worst enemy?

You might think: Writer’s block? The blank page? Technology? Caffeine? Sleep? Outlines? All good possible answers, but…nope. What applies only to theatre writers and to no other form of writing?

Readings.

DUN DUN DUN! *Insert dramatic zoom here*

But why, Michael? Why are readings both potentially wonderful and oh-so-evil at the same time?

An excellent question.

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There's A Place For Us...

I was at a networking event earlier this week and got into a conversation - one that I’ve had countless times with theatre professionals and audience members alike - where the central questions are:

Should Broadway shows be about the art or the money?”

Is there a place on Broadway for shows that are only light and feel-good? What about dark, depressing shows?”

How do you expect to get new audiences if all shows look, feel, or sound alike?”

Now, I don’t find the mere asking of these questions to be problematic, but I do find the heart of this oft-had conversation to be problematic. Whichever side you fall on - and yes, there do ultimately seem to end up being two sides to this conversation - there is an insinuation that one type of theatre should exist on Broadway and another type should not.

But my big question is: Why?

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