Questioning what is, imagining what if
Below is taken from the introduction to the book I’m working on. When I was writing my former blog, Theatre Ideas, during the end of the Aughts (when the theater blogosphere was a bloody, bloody place), I often encountered the following challenge when I proposed the apparently Crazy AF Idea that another path to a…
As the Alan Parsons Project once asked, “Where do we go from here?” I ponder next steps, and ask for your feedbacl and suggestions.
The pandemic years have been very difficult for people in the performing arts, and for people across the nation in general. But one positive thing that came out of it was corporations realized that it wasn’t necessary to have employees come into the office every day, or even at all; that working independently from home…
A quick note about Actors Equity as it relates to the onership model.
Space: the final frontier. Where will your theater be geographically, what kind of performance space will you have, and what will be in it? And how do those decisions affect viability?
We’re back in the realm of “opinion” here, I guess, although the idea that a playwright should be part of the company is consistent with my promotion of Margo Jones’s commitment to new plays in an earlier post. Like anybody else in the company–like Shakespeare and Moliere–they need to do more than “just” write plays;…
If we’re creating a theater, don’t we want to make ourselves eligible for charitable contributions and grants? Hold the phone.
At the end of yesterday’s post, I made a somewhat bold statement: Each new member of the company must: Buy a share (The Lord Chamberlain’s Men) Be able to extend the living of the company Have multiple talents (or be willing to develop some) I can hear some of you (and when I was younger,…
Novelist and cultural critic Daniel Quinn provides a useful way to make sure that each person you add to your company will increase your chance of success.
My previous post, “William Shakespeare: Owner,” connected Shakespeare’s monetary and (to some extent) artistic success, as well as his productivity, with his being part owner of the Lord Chamberlain’s Men and The Globe (i.e., “controlling the means of production”). But you might have gotten to the end of that post and thought, “Hey, wait a…
