Projections are a necessary evil in the theater world.
Continue reading “Once Upon a (good?!) Projection”
Projections are a necessary evil in the theater world.
Continue reading “Once Upon a (good?!) Projection”
When an uber fan wants to preach the gospel of Broadway, they tend to focus on the best shows Broadway has to offer.
Continue reading “Mr. Every Night”
Macbitches wrestles with the always-zeitgeisty question of whether art that depicts immorality leads to a perpetuation of that depicted immorality outside of art, for audiences and the participating artists alike.
Continue reading “Life’s A Bitch. Art’s A Bitch. Related?”
An unresearched, armchair, modern history of what I like to call the afterture, or: when the end of the plot isn’t the end of the musical.
Continue reading “Aftertures”
By definition, a production’s sound design is meant to be heard.
Continue reading “What’s That Sound (Design)”
When American theatergoers first visit London, they tend to report back on one crucial difference:
Continue reading “& No Song List”
Even though both cinema and theater are predominantly observational mediums, they sure do like to avoid steeping the audience in observing the minute face of the act of artistic creation and audience consumption.
Continue reading “Creation and Consumption”
There’s a fundamental storytelling problem at the heart of jukebox musicals:
Continue reading “Hats on Hats on Hats”
I’ve been thinking more about how art mingles with an attentive audience’s sense of perspective, specifically the differences to this equation posed by various mediums.
Continue reading “Two in One”
And now, a Write All Nite pastime:
Continue reading “The Call is Coming from Inside the Orchard”