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Our very first patron is Ken Raeburn. On behalf of the New England Theatre Geek staff, thank you Ken!
NETG: Please introduce yourself. What is it you do at Open Door Theater? SG: My name is Sam Gould and I am the President of the Board of Open Door Theater. However, as we are all volunteers at Open Door, I am a producer, grant writer, accessibility coordinator, public liaison, Make up person, backstage crew, recruitment coordinator, mediator, floor sweeper, etc. Continue reading →
(Boston, MA) It was a wintry evening in Boston’s Financial District and, as the audience moseyed into the lobby of an office building with wet snow piled upon our hats and coats, we found our seats to the soundtrack of bubbly theme songs from classic pre-1970s television and cinema. There were themes from Gilligan’s Island, Bewitched, and that kicky rendition of the Charleston dance song as featured in It’s A Wonderful Life (1940s).
Once seated and ready for the performance, patrons sat with our four actors lounging around the small stage space in short leopard-print bathrobes. Hm? Earlier in the week, I told a pal that I was going to see a play by John Kuntz, and their heads-up was “John Kuntz? His stuff is weird but wonderful!” And yes, very immediately, with the bouncy lyrics of “The Ballad of Gilligans Island” promising a fateful trip, I knew I was in for a theatrical adventure. Continue reading →
Presented by ArtsEmerson Torrey Pines Directed by Clyde Petersen
Animated by Clyde Petersen & Chris Looney
Original music recorded in collaboration with Kimya Dawson and Chris Walla (Death Cab for Cutie)
ArtsEmerson presented a lovely set of screenings of “Torrey Pines” with a live band and live foley. A stop motion film about a young adolescent’s experiences, the lead in the film was also the lead in the band which played, Your Heart Breaks. The Seattle band has been touring with this movie since its premiere in 2016. It is wonderful that this movie was brought to Boston, especially since there are few art pieces with trans creators at the helm.Continue reading →
NPR, PBS and the NEA are vital resources for everyone living in the US. Cutting funding would impact the US budget only minimally. This is largely a demoralizing gesture to indicate how 45 presides as a fascist demagogue. Don’t let this tactic work.
Presented by Wheelock Family Theatre Book by Linda Woolverton Music by Alan Menken Lyrics by Howard Ashman & Tim Rice Directed by Jane Staab Music direction by Steven Bergman Choreography by Laurel Conrad
“Men are afraid that women will laugh at them. Women are afraid that men will kill them.” ― attributed to Margaret Atwood.
(Boston, MA) Disney’s Beauty and the Beast (DBatB) is beloved in all its forms. The 2017 film with Emma Watson, Dan Stevens, Luke Evans, Emma Thompson, and a vastly underutilized Audra McDonald, is a charming retelling with updates to make it more palatable for contemporary audiences. The 1994 musical adaptation of the 1991 film is not. The original Disney movie was notable for its strides in animation technology, but not for its intersectionally feminist portrayal of accepting others for their differences. Unfortunately for Wheelock Family Theatre, this problematic musical hasn’t received the update treatment. In some ways, it’s worse that the 1991 film. Continue reading →
(Cambridge, MA) Irresistible is Liars & Believers most recent, most experimental collabortive project to date. It is incredibly important, when considering the expected outcome of experiments, to remember that the majority of experiments fail. Failure does not negate the significance of the experiment. Rather, it gives the technician an opportunity to understand what didn’t work. Failure can be good. Continue reading →
Introduction: Below are two pieces in response to The Nora Theatre’s production currently playing at Central Square Theater in Cambridge, MA. First is my critique of the production. The second is an opinionated response from fellow Geek Noelani Kamelamela. I asked Noelani to write a response to the production because representation is important. Three out of four cast members of Proof are Asian-American. This is significant because David Auburn didn’t factor race into his writing process. This means white was his default. No one gets extra credit for treating people of color like human beings. The Nora does get kudos for subverting the racial paradigm.
Review by Kitty Drexel
“In a good proof there is a very high degree of unexpectedness, combined with inevitability and economy. The argument takes so odd and surprising a form; the weapons used seems so childishly simple when compared with the far-reaching consequences; but there is no escape from the conclusions.” – G.H. Hardy, A Mathematician’s Apology
(Cambridge, MA) The stigma around mental illness remains sharp. The Nora Theatre’s production of Proof doesn’t tackle this stigma so much as wait until the audience is pliable and then viciously assault it. It isn’t gentle but it is effective. Continue reading →
(Boston, MA) Meagan Michelson delivered a sincere but rowdy tribute last Saturday night at Club Cafe. Mother Mary Says to Me is a love letter to Mary, her Mom. It expressed the kind of gratitude one hopes to share with their own mother figure. I wish I had brought my Mom to see it; MMSTM had the kind of edge my Mumma Geek enjoys, and the heart to put a twinkle in anyone’s eye. Continue reading →
Preface: This article was originally submitted to HowlRound for potential publication in 2017. The truly wonderful folks there decided to go in a different direction. The article is published on NETG to continue the conversation started last August by EJ. Other disabled artists interested in sharing their stories should please contact the Queen to discuss.
-Kitty, the Queen Geek
In her excellent article summarizing the breakout session at the 2017 Theatre Communications Group Annual Conference in Portland, OR called “Creative Access: Accommodations for Professional Performers with Disabilities,” Talleri McRae lists five salient points to guide theatre professionals towards more ability inclusive practices. Her suggestions were on point. They hit me where I live. In this article, I reflect on my experiences as a disabled artist. Were the practices suggested by McRae’s article applied across the theatre world, my experiences as a child and young-adult artist would have differed greatly. If universally implemented today, the impact will affect disabled performers for generations to come. Continue reading →