Theatre – Life on the Wicked Stage: Act 3

The iPad mini 8: Thoughts and Observations

A short list of improvements that make a winning tablet even more of a winner

Remember the days when seemingly every product was advertised as “New and Improved!” Those were fun times. Apple has its own way of spinning that runs close enough to the parody border that it more often than not becomes white noise. For example, Apple trumpeted the latest update to the iPad mini as “its biggest update ever.” Thankfully, without exclamation points. The update is a good one. The best thing I can say about the iPad mini 8 is that it is still the same with a few very nice and welcome improvements. That won’t work as a marketing slogan and narrative nudger, but it works for the product.

The iPad mini 8 with an attached Apple pencil being held up and showing a screen with the text "The Same But Better!"

I mean that has a complete compliment and high praise. It’s not that I’m too set in my ways, but a key marker for the success of an upgraded device is how quickly I can get back to the work I was doing once a device is set up and if the improvements make a difference.

Everything that has made the iPad mini a key part of my toolkit is still there and Apple’s hardware iterations do up the iPad mini’s game. As well as the price. Except for that, I’m glad to see the changes. They are meaningful. More importantly, I’m glad Apple is still selling the device. Although you have to look hard on Apple’s website to find a mention of it, given everything else they are hyping this fall.

The improvements include adding an OLED display, more protection against water and dust, and making the device thinner while slightly expanding the display. The chips running the device graduated to the current generation with the one year shy of legal drinking age A20 shouldering the workload. Apple’s N1 wireless chip enables WiFi 7, Bluetooth 5, and Thread support, though that’s mostly future-proofing at this point. For cellular communication, Apple’s C2 modem is there for your cellular connectivity pleasure. The Center Stage camera used for FaceTime and other video calls has now moved to the landscape edge for better viewing angles.

All in all, it’s a good, short list for the small tablet, both today and for tomorrow. And a worthy list for what continues to be a worthy entry in Apple’s mobile computing lineup that often feels like it’s treated as a bastard stepchild.

OLED Display

The OLED screen looks lovely as OLED screens usually do. Bonus points for not having a bad pun or silly portmanteau in the name. I had no problems with the mini 7’s display, but this OLED version unquestionably creates a nicer viewing experience. The display is slightly larger and the bezels are slightly smaller. Coming from the iPad mini 7 to the mini 8 that size difference feels negligible.

In dark mode, blacks are blacker (handy in dark theaters where I work) and apps using darker colors get a bit more pop. (What is this fascination with black and white icons lately?) Handwriting with an Apple Pencil is just as smooth as it has been for several generations of the iPad line. Apple has nailed this and it’s good to see other apps like Marco Arment’s new app, Fineliner, (on the right below) taking advantage of it.

An iPad mini 8 in dark mode displaying meeting notes for a theatre production

An iPad mini 8 displaying handwritten text in blue and red using the Fineliner app.

Many (too many in my opinion) were outraged that the display still only has a 60Hz refresh rate. I think any real disappointment with that depends on what you use the iPad mini for. In my use case it’s not an issue and I think some of the frustrations come from comparing too many spec sheets more than actually using the device. Narratives, good and bad, form in lazy ways.

A THINNER SLICE

The thinner device is indeed nicer to hold and carry. It’s not an earth-shattering difference, but it noticeably feels lighter in my hands. It’s enough of a difference that I still notice it after using the device for a week.

The iPad mini 8 stacked on top of the iPad mini 7 The narrower width does make carrying the Apple Pencil attached to the magnetic charging port feel a little more precarious. Improving the water and dust resistance will certainly be a plus for those who use the device in environments more wet and dusty than I do. Although I wouldn’t bathe with it or bathe it in dust.

Do You Want Chips With That?

The chip and communication upgrades promise more efficiency, and the A20 offers more power to tap and performance to appreciate. I have noticed a performance boost in some of my work this week. If AI is your thing, the iPad mini is as ready as most of Apple’s other mobile devices are to handle those chores. More power to you.

Given the infrequency of iPad mini updates, bringing this edition into line with other current hardware means the iPad mini 8 will have a good life for several years to come. For those who use an iPad for more extensive or demanding work than I do, there is now more oomph in your hands.

As to the N1, I don’t have WiFi 7 but I’ve noticed a boost in WiFi performance and assume that it’s due to the NI chip given that there’s no change to my networking setup.

SOUND AND SPEAKERS

The one new feature that concerned me turns out not to be an issue. In order to improve the water and dust resistance Apple removed the speaker holes from the frame and placed the woofers under the screen with concealed the tweeters between the display glass and the aluminum enclosure for what Apple calls an Acoustic Display.

Since I watch content on the iPad mini quite a bit I was concerned about how that would affect sound quality and volume. To my ears there’s no discernible difference. Everything sounds fine. I just spent hours watching video audition submissions for my next directing project and things sounded like I expected. I was able to distinguish between the good and bad recordings with no issues.

I have seen and heard others say that they can feel the device vibrate a little when the volume is turned up loud. That makes sense to me given the design change, but I don’t typically run things anywhere close to full volume so I haven’t experienced this myself.

MY KIT AND HOW I USE IT

I purchased a Midnight colored (that would be black to most of the world that isn’t in marketing) iPad mini with 512GB of storage. I did not add on the Nano-texture display or cellular upgrades. Note that depending on which storage size you choose affects not only the price, but the chip configuration (binned or not, two Neural engines or one). I can’t speak to the differences, and I doubt we’ll ever see a review that compares one configuration to another.

As to my use case, at work I’m a theatre director. That’s the prism I view iPads through. I carry my scripts on an iPad Pro and an iPad mini, two different tools I use during different phases of the job. I import the scripts into GoodNotes and use an Apple Pencil to make notes on the script itself. I use Apple Notes to take rehearsal notes with the Apple Pencil as well. I’m a Slide Over fan, and I wish Apple would get rid of the unnecessary border around the Slide Over window.

An iPad mini 8 using Slide Over to reveal Apple Notes over a script that is highlighted in yellow

I’m constantly viewing and reviewing designs, documents, and communications throughout the pre-production and rehearsal process. Since the days of COVID, video auditions have become the predominant way for actors to submit prior to being called back for an in-person audition or callback, so there’s lots of video viewing there. When I’m not directing I use an iPad for streaming video entertainment, reading, and web browsing.

I was never in the now dwindling camp of iPad users that wanted to push the iPad more towards a Mac. I’m a believer in using the right tool for the job and am lucky enough to be able to stock my toolbox with the different computing solutions I need. iPads as they were and are fit my needs just fine. But the beauty of the iPad lineup as it currently stands is such that it can fill a lot more needs than I need it to and can be many different things to many different people.

I think you can extend that to Apple’s entire lineup of computing solutions. There are a variety of solutions that can fit a variety of needs, and none of them have to be everything for everybody. Unfortunately, Apple’s tools are increasingly even more expensive than they always have been. Indeed, the iPad mini 8 saw a price jump. But I’m a believer in the old clichés that you get what you pay for and that you should buy the best tools you need for the job at hand.

iPads have been so much a part of my theatre work that I’ve owned most of the lineup since the first iPad was introduced and I retired my Microsoft Tablet PCs. My current iPad Pro is an M4 version. I skipped the M5 version, but previously with both the Pro and iPad mini lineup I had been upgrading every cycle.

I’ve written about why I think the iPad is the perfect theatre rehearsal tool for a director many times before. And, I also see more actors using an iPad in rehearsal for their scripts. Though the majority I’ve seen are using an 11-inch model more than the iPad mini. I find that interesting given the comparable size comparison to the Samuel French and Dramatists scripts many actors are familiar with.

A paperback script for The Lehman Trilogy side by side with an iPad mini 8 displaying the same script.

The Future and Now

As I mentioned earlier I alternate between the Pro and the mini for different stages of my work and even before this upgrade I found myself using the iPad mini in more scenarios than the Pro. Apple releases new versions of the iPad mini less frequently than the Pro. Given what looks like a broad curiosity about the iPhone Duo, I think any release cadence the iPad mini may have been on might change in the future depending on how things play out with the folding phone’s trajectory. That’s a script that’s still being workshopped.

I will say this. If Apple releases a foldable version of the iPad mini, I’d buy it in a heartbeat. Remember, the iPhone had its early beginnings in Apple planning for a touch tablet.

For the moment though, this year’s upgrades to the iPad mini have improved an already very good small tablet solution that will fill the various needs of those who use one today and for a few years to come. I hope that doesn’t come off as hyperbolic.

Thanks for reading. You can subscribe to this blog if you care to. You can also find more of my writings on a variety of topics on Medium at this link, including in the publications Ellemeno and Rome. I can also be found on social media under my name as above. This site does not use affilate links.

Previews, Pre-Season, Betas, and Opening Nights

Some more thoughts on the iPhone Duo release with a dash of theatre and sports tossed in the mix

There’s an old saying in the theatre biz. No show is ever really ready on opening night. It’s a cliché that has seen it’s time pass in the big money commercial circuit because so many producers run lengthy preview weeks, charging essentially, but not quite, full price to avoid reviewers publishing their criticisms until the show is officially open. The preview process began lengthing after the days of out-of-town tryouts came to an end, although we see that still happening occasionally as larger regional theatres will debut a work, allowing it to still be worked on, hoping that it will one day make it to Broadway.

Apple iPhone Duo closed and open_big.jpg.large_2x.

There was a famous production of Eugene O’Neil’s play Hughie, starring and directed by Al Pacino, that ran in previews for almost a month before finally opening. That led to a critic from Daily Variety breaking the only after opening night embargo a week early since the announced limited run would end up with less “real” performances than those in previews after the show officially opened. The show would go on to extend the run a couple of times.

In smaller circuits the cliché still lives on, simply because of a lack of resources to run many preview performances in front of audiences to really gauge reaction before it officially opens. A show can look great in final dress rehearsals, but it’s never complete until there’s a paying audience of strangers sitting in the dark to tell if it works or not. The ever-present lack of time still breathes life into the cliché in ways that offer both hope and anxiety behind opening night curtains around the world.

In the professional sports world teams play in a pre-season or spring training games that don’t matter while the players tune up for the real thing. Although in most of those types of meaningless games it’s really more like watching players audition than it is anything else. Occasionally a budding star emerges, but that’s atypical. Early “real” season games that do count (at full price) are when teams find out what they have, leading knowledgeable sports viewers knowing when it is time to pay real attention to a team’s chances or not.

Those are two interests in my life. I’m a theatre professional (and geek) and I watch sports. Another is my interest in tech. In tech we have betas. Or we used to, when that was mostly for software. Now we’re just in previews, pre-season, or perpetual betas forever for both software and hardware. Which is somewhat understandable, yet weird, perhaps ironic, but ultimately a joke on the paying public, given the pace in which things are always advancing in tech, including the pace and price of advancement.

We never seem to reach opening night, opening day or the end of a beta period in tech. Instead products and software are released incomplete, occasionally followed immediately by “leaks” that suggest the company that just took your money for it’s latest best product ever is working on fixing the things they knew were wrong for the next version when they released the product you just payed for.

But you’re going to love it.

It’s easier to swallow with software. It’s a bigger pill that sticks in the craw with hardware.

It used to be that betas were for working out bugs. They still are to a degree, but now they’re just the next show in a never-ending season, or the latest minor-league call up. But you still pay full price for the game when the team needs to put a not ready for the big leagues pitcher on the mound just to fulfill its obligation to play the announced season.

You can argue that there’s nothing wrong with the way things have evolved in tech because the financial equations are different. It requires a substantial upfront investment to create, produce and deliver new technology. You’d be mostly wrong, but you can argue it. Most of the costs in show biz happen upfront before a show even gets close to an audience, hopefully a large enough one in a long enough run to recoup the initial investment. It is a different equation in sports.

The release of Apple’s iPhone Duo strikes me as an interesting entry in this evolution of consumer dynamics. Soon, perhaps too soon, before the product was released to the general public, leaks popped out that Apple was working on tweaks to two of the major criticisms of the device for the next generation — a larger model and adding FaceID. That followed criticism from reviewers.

In general, most tech reviews I read, watched, or listened to made it very clear that the iPhone Duo was a first generation device with some rough edges that wasn’t for everyone, especially at the entry price. I can’t judge those reviews myself since I haven’t seen the product, but they mostly seemed very similar and to my mind fair. Some, sounding more like theatre critics or sport writers I’ve known, were more harsh, delivering criticism that might have prompted a closing notice being posted before intermission or an early game benching.

Here’s where my three interests diverge a bit. In theatre the show can close early if it’s savaged or not enthusiastically endorsed by reviews. In sports a pro team can retool a bit by trading or signing free agents midseason. Tech companies have to play out the run with tech hardware until the next generation is ready.

Given the leaks following the reviews I find it sort of funny that I’m in a place of feeling a bit sorry for the carriers that are offering great deals on the iPhone Duo subsidized by a three year contract. That’s a tough sell to anyone who pays attention, though admittedly most won’t if they’re hot to trot for the new shiny folding phone from Apple.

It’s my hunch, and only a hunch, that Apple knew these criticisms were coming. Even so, it’s one thing to prepare the next version hoping to make changes that advance a platform, it’s another to make them in reaction to negative press once the product is unveiled. It sets you up in the next round for being congratulated for fixing what was wrong the last time.

In the theatre if a joke doesn’t land, you can replace the joke in previews. In sports you bench a player or fire a coach. With tech hardware it’s not that easy changing things before it becomes a punch line. (See the Vision Pro.)

My second hunch, only a hunch, is that the iPhone Duo will eventually become a successful part of Apple’s lineup and get past what feels like a rough opening. I don’t think it will enter into Vision Pro punchline territory. Critics of all human endeavors need something to criticize as much as companies need to produce the next thing. It’s a symbiotic relationship that feeds on itself. And the always distracted general public has short-term memory bordering on amnesia.

It’s my wish that tech companies, like theatre companies and sports teams, would figure out a better path to the success they seek. Sure, you might be able to fool some of the people all of the time. But for the most part folks figure it out on their own. Some of the time. And that some of the time is what everybody on the producing end of things counts on.

The Debate Over This Writing Thing

Words, words, words. Bits, bits, bits.

Several weeks ago there was quite a debate bouncing around about what writing is or might or might not become in this era of Artificial Intelligence. Quite a lot was written about the subject. I watched and read most of it beginning with John Gruber’s piece on Daring Fireball about Anthropic’s use of watermarks for AI-generated writing. Gruber called it a “perversion of writing.” Many others weighed in with words, words, words. And more words.

Shutterstock 2525907005. A hand writing with a quill an ink.

I particularly liked Dan Moren’s piece in response, primarily because it lines up with what I’ve learned and currently think about AI-writing. Here’s a quote:

That might be the case if AIs were writing. But they are not; they are simply generating text. Those two things are not the same. As per the premise of John’s piece, writing is about carefully picking the words and crafting the meaning of what you’re saying, things that AI do not—and patently cannot—do.

In case you’re wondering, I’m in the camp that says that AI isn’t capable of “writing.” If you know anything about the tech at all, you should be too. AI might be able to predict the next word, but that’s a mathematical equation not writing. If you insist otherwise, I hope the kool-aid tasted good on the way down.

Back in the days of my youth, one of the many rituals of sorting wheat from the chaff in childhood education was teaching us to to write mechanically, moving slowly but steadily up to writing things with meaning (remember book reports?) and once we moved into college there was Freshman Comp. Do they still teach Freshman Comp these days?

It wasn’t until later in college when I actually learned what I came to believe writing was all about. Dr. Ralph Cohen, an English professor who taught courses on Shakespeare, film as a narrative art, and surveys of literature, was one of the few professors who kicked my butt. He challenged me in ways others didn’t and I ended up taking most of the classes he offered.

In teaching Shakespeare, he laid out what the physical act and monetary cost of writing during the Bard’s time actually required. There was a real cost to committing an idea to the paper he made out of rags and old linens. Simply put, it meant the work of writing happened in the man’s brain and soul either before or as he was scribbling away with his quill and ink.

I was never good at writing with pen/pencil and paper. Nevertheless, I fought my mother tooth and nail when she insisted I take a typing class in high school. She won. I’m glad she did. Writing for me did become easier on a keyboard and a keyboard has been the primary medium of committing my thoughts to paper or digital bits ever since.

In thinking about this debate I pulled a dust covered dictionary off of one of my book shelves to look up the definition of writing. It’s The American College Dictionary published by Random House copyrighted in 1961. Here’s what that says below:

I also looked up the word “write.”

And the word “writer.”

Google Gemini’s AI summary provides the following:

The highlights in that result are Google’s. Certainly there are many other dictionaries with differing and distinct definitions spelled out. I’d wager that most, like those above, focus on the mechanical. Perhaps that would steer the debate more towards those who think AI can “write.” Frankly, I find that devaluing when I think of the act, or dare I say the art of writing.

Having spent a life in the theatre, written a few plays and musicals along the way, and heard the chimes at midnight with many a playwright and composer searching for the right words or notes, I believe there’s an element that’s missing when most engage in this debate. I’d call it the soul.

Otherwise the infinite monkey theorem comes into play and renders all writing reductive to a fault. Or if The Simpsons is more your cup of tea, 1000 monkeys with a 1000 typewriters.

There are some that are trying to define parameters of this debate as being about process. But that’s any creator’s thing. Some want to frame the discussion about how the march of technological progress always presents change. So, why resist it?

If writing, or any other art form was supposed to be easy or easier that’s when the devaluing kicks in. The playing fields of creation have never be level. Why start doing so now?

That last link above is from a piece from Tim O’Reilly on the subject. I’m not sure if he wrote it or he coached an AI to do so. You’ll understand that if you do read the piece. Regardless, it’s worth your time if you have interest in the debate. Here’s a quote:

We’re in the early days, still shooting filmed stage plays. The masters of this instrument will uncover themselves. When they do, what they produce isn’t going to be slop. In the meantime, I don’t think we should be shooting down people who are trying to push AI’s limits in writing or art. Writers should be trying to figure out the medium, just as software developers are doing in coding.

We may indeed be in the early days. I translate that in our current moment to folks paying for and investing a lot of money to use beta software that promises much, doesn’t always work, and more often than not yields different responses to the same prompt. But that’s the slippery slope we’ve fallen down with most tech these days.

Early filmmakers may have indeed been constantly adapting and evolving the technology they used and the way they used it. Although to pick a nit, the early filmmakers analogy doesn’t really hold up, as most early films were shot outdoors until lighting technology caught up, allowing for better filming of interiors. That’s when filming stage plays really began. (Thanks, Dr. Cohen.)

The distinction is that those early filmmakers were pushing their technology envelopes to better tell a story in a new medium of motion pictures. Not mimic one that had existed since man first painted tales of the hunt on cave walls. That assumes you accept the pieces of the definitions of writing that describe it as a method of using symbols, characters or words on some surface in order to communicate an idea.

But back to my thoughts on writing in opposition to those I disagree with. It’s safe to say that my bet is anything AI writes, no matter how well prompted, won’t endure for 400 or so years the way Shakespeare has. Or in later generations, Chekov, Ibsen, Miller, Mamet or Shepard. Not even the summaries. Of course, who knows what will endure 400 years into this wacky future we seem hell bent on creating? Or is that erasing?

I’ll end this with a quote from Mr. Shakespeare:

Write till your ink be dry, and with your tears
Moist it again, and frame some feeling line
That may discover such integrity.

Two Gentlemen From Verona, Act 3, Scene 2

A 1000 monkeys indeed.

(Images from KinoMasterskaya on Shutterstock. Dictionary photos by the author.)

The Myth of Character

There’s nothing new under the sun

I’m a pretty good judge of character. My profession as a theatre director trained me to understand a character in a play’s dramatis personae from reading a script. I hear you. That’s life on the stage. That’s make believe.

Shutterstock 1782039683.

Here’s the secret. No character on a stage ever appeared for the first time in a play. They debuted in life and someone described them in words and brought them to theatrical life. Playwrights don’t create characters out of whole cloth. They, like poets and writers before them, write characters as they have experienced them in the real world, or borrow them from those that have written them before. We are a decidedly unoriginal species.

If you live long enough and pay attention to the world, you develop the same skills as writers and theatre directors. You quickly come to realize that there are indeed a limited number of character types around us and they are easily identifiable. There are apparently a finite number of molds we’re baked in.

Hell, dogs recognize good and bad characters much like humans. Often faster. So do children, but something happens as we mature that dulls that instinct.

Writers for the page, stage and cinema people their stories with recognizable types, not for lack of trying, but as recognition that we don’t really change that much through the ages. In the theatre trade we call these easily identifiable types “stock characters.” Stock, as in picking them down off of a shelf.

Aristophanes and Theophrastus for the Greeks, and Plautus for the Romans get most of the credit for this. Although most consider Plautus to have simply borrowed the concept. Later, Commedia dell’Arte became famous for its stock characters, and also the masks created for them. The humans behind the masks became less important to the story than the costume. That should tell you something.

Supposedly the first time the term “stock character” appeared in the English language was in the 1860’s. Other cultures had and have their own versions of stock characters. Asian and African forms of storytelling also developed their own easily recognizable familiar characters.

When it comes to literature and entertainment there haven’t been that many new characters recreated from life’s observances since antiquity. “Good” characters have a flaw or two or three. So do the “bad.” That’s what makes them human. Even the dramas written in the days of multiple gods featured those beings as flawed. Without flaws there is no conflict, no drama, no comedy.

In today’s highly charged political atmosphere, with villains currently holding winning hands here and abroad, looking for perfect characters to defeat them is a fool’s errand. And yes, there are more than plenty who fit the character mold of fool.

When a person creates a role behind a mask representing good character or one on a path of redemption, that’s an age old character trait also. Those characters always get their comeuppance in the end when the flaws are exposed. It’s only recently in the history of literature that we’ve forced happy endings that include the irredemable into the mix. It’s a sad and unfunny joke that people keep trying the trick. Audiences, like dogs, sniff it out.

When someone says a man or woman is of good character it doesn’t mean they’re perfect, pristine, or pure. We might like it to, but that’s wish casting. Flaws will always emerge. Otherwise the story generally sucks.

I wish we’d stop looking for those mythical creatures and recognize that the good and bad ones that populate our real life off the stage are just copying what came before and mirroring the life most of us lead.

(Image from mariesacha on Shutterstock)

A Flopping Turkey In Washington DC

Sad spectacle in Washington DC

I’ve directed a few shows in my time that were flops. Small audiences. Empty theaters. Never fun. Always embarrassing. Always a loss. We called flops and turkeys. I don’t think any of those experiences compares to the big show currently flopping in Washington DC as America tries to celebrate its 250th Anniversary under an extremely unpopular, flailing pedophile and adjudicated rapist still pretending to be president.

It’s one thing to give your all for a play or a musical and have the public not be interested, regardless of the quality of work. It’s another thing entirely to fail with egg on your face celebrating the biggest anniversary in the country’s history to date, simply because folks don’t bother to show up.

We always joked about a flop by saying the public stayed away in droves. From all of the photos and live coverage from DC, it looks like the droves are in on this joke. Oh, there are other celebrations around the country, but the public sure seems to be ignoring the big one put on by the big guy. You’d think someone so obsessed about ratings would take the hint.

The myth is that Benjamin Franklin wanted the turkey to be our national bird and not the eagle. Turns out we’ve got a real turkey of a 250th celebration on our hands. And this one is no myth.

What Goes Around Is Always Coming Back Around

Life can be painful. Live theatre can be as well.

Now that we’re into rehearsals for the stage reading of Puta Wijaya’s play OH, it’s both gratifying and terrifying to discover that my initial thoughts about the piece being timely and universal are correct.

That of course what’s makes a good play, a good story. It also makes for a constant reminder of how little attention we pay to the stories we tell and repeat.

Wijaya’s work began as a short story that was originally published in 2003, and was then adapted by him in 2018 into what he calls a monodrama, meaning a one character monologue. It’s set in Indonesia. But the words spilling out his thoughts could easily have been written about the U.S lately.

Here’s an example:

I’m stepping into the struggle for justice in this impotent toothless tiger of a country which, instead of using what’s left of its strength to fight, lazes around enjoying itself. Oh! This is insanely embarrassing. It just doesn’t make sense. But this is reality. Our reality! The older generation slacks off, the younger generation jacks off. People are racing to dig their own graves.

And another:

Not like those other lawyers these days who are mostly about making deals, or those elites and intellectuals who shine when they are powerless, but who, from their new seats of power, become more…(Louder) violent, greedy, materialistic, merciless, and despicable once they get the opportunity to trample on justice and truth they once idolized.

Working with IVP is one of the gigs I return to eagerly. Working with plays from far away places and different cultures, always, in the end, proves over and over again that at the core, we’re all the same. Though our life experiences may differ, they really aren’t.

I used the word terrifying in the opening of this post because you’d never know that this play wasn’t written about what we in the U.S. are living through currently. I also say that because regardless of where we’re from, or the horrors we endure, we never seem to learn how the wheel always turns and comes round again.

Life can be painful. Live theatre can be as well.

You can also find more of my writings on a variety of topics on Medium at this link, including in the publications Ellemeno and Rome. I can also be found on social media under my name as above. This site does not use affilate links.

Gearing Up For Another Journey With The International Voices Project

The plays may be from far away, but the stories feel closer to home

It’s that time again. A time to journey into parts unknown with writers new to me. That means it’s time for The International Voices Project festival.

This is a gig I participate in once or twice a year. IVP gives me a chance to explore writers, different cultures, and a larger world. The mission of IVP is to bring international works translated into English to Chicago audiences. They are presented in a staged reading format. That simply means actors are carrying scripts and the production isn’t fully realized. The emphasis is on the text and the story.

This year I’m headed to Indonesia and the play, OH, by Puta Wijaya. The story features a young attorney who arrives at his father’s hospital bedside to fulfill his father’s request, but he comes not as a son, but as an ambitious lawyer seeking his mentor’s opinion on a case: defending a drug dealer facing two death sentences. Wijaya himself adapted the piece into a play from an original short story of his, called The People’s Justice.

The one thing I always learn from these plays from other countries is not how different we are, but just how much we are the same. That’s more than true with this piece, as much of what the main character thinks could be ripped out of today’s US headlines or from social media.

Looking forward to spending the next week rehearsing and hearing the staged reading of OH, next week.

The Wrecking Ball Comes For The Theatre Building

End of an era

A friend and fellow theatre professional, Walter Stearns, took this sad photo today. It marks the end of an era, the end of a theatre (multiple ones under one roof), and the closing of a chapter in my life.

The Theatre Building, later Stage 773, and even later WHIM, has finally come under the wrecking ball.

If you were a theatre practitioner in any of its disciplines, I’m betting you worked on one of its three stages. Big name stars worked there before they were big names, just like many others less famous doing their thing.

If you think of what has become known as Chicago theatre, The Theatre Building was one of the venues that made theatre in Chicago, Chicago Theatre. I was privileged to produce and direct shows on each of those three stages, was a tenant, worked on staff for a period of time, and helped manage a major renovation in the 90’s.

We’ve known this has been coming for a while now, but seeing this photo of the demolition sharply marks the end. The site of so much theatre magic and home to so many Chicago theatre companies will now be developed into residential units.

Here’s a link to a Chicago Tribune article from last summer announcing the impending final curtain.

I’d take a drive by today, but feel I would be too emotional. Instead I’ll commiserate with some theatre friends tonight when we see Walter’s latest show in another part of town.

Sad day for many.

Celebrate World Theatre Day!

Imagine

In a fit of misplaced hope and perhaps vanity, I would hope that lots of folks who don’t ordinarily attend the theatre do so today on World Theatre Day. Of course in that same misplaced vanity, I would hope more would do so more often on any day.

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World Theatre Day is an international observance that started in 1962 by the International Theatre Institute to promote live theatre as an art form across the world. Each year a different theatre artist is recognized and provides a message, sharing his or her reflections on the theme of theatre and a Culture of Peace. This year’s choice is Willem Dafoe.

Here’s an excerpt from his message:

We are social animals and designed biologically for engagement with the world. Every sense organ is a gateway for encounter and through this meeting we achieve greater definition of who we are. Through storytelling, aesthetics, language, movement, scenography – theatre as a total art form can make us see what was, what is and what our world could be.

As Jean Cocteau said in the first World Theatre Day message shared by the ITI:

We gather to weep and to remember; to laugh and to contemplate; to learn and to affirm and to imagine.

Go see a play.

Took A Little Trip Into The Theater of the Mind

Take me to the water

My wife and I took a little trip downtown today to check out David Byrne and Mala Gaonkar’s immersive theater production, Theater of the Mind. I’ll be writing my thoughts up about it soon. I will say it’s quite an experience.

Until then, enjoy the juxtaposition of these signs and banners for Theater of the Mind and the next door World of Whirlpool. As we walked up I found the proximity more than amusing, and somehow fitting given the body of Byrne’s work and the fact that both are housed in historic Reid Murdoch Building adjacent to the Chicago River.

The latter is not a theater experience. But then again, who knows?

Below is a promo for Theater of the Mind.