Tuesday, October 20, 2009
This Experiment Called A Life in The Arts
Above you will see a clip form an interview with Harold Clurman, and we here at The Savannah Dramaturgy cannot agree more. This voice from our past has particularly cogent things to say to us today, in Savannah.
Our community, our city, stands at the threshold of the potential for great things, dramatically speaking. Times of flux and uncertainty are the precise times that the powerful individuals that we find in a dramatic community can step up. We can be idealists... perhaps Savannah needs a few more schmucks.
And yet, I wonder how much a group of individuals will be able to accomplish without a little bit of discussion and cooperation among themselves. One too many vanity projects, and all one has is a broken mirror, reflecting fragments back to the community. Never underestimate the power of schmucks in large numbers.
Given this, The Savannah Dramaturgy renews its pledge to serve all dramatic outlets in our community. We will try our damndest to start seeing everything, not just a few chosen companies. However, we cannot do this alone, and will need at least some help in this coverage.
Monday, October 19, 2009
Critics in the Blogosphere: Hitting Close to Home
I recently found this piece over at Parabasis while cruising the blogosphere. I felt it particularly pertinent to us here at The Savannah Dramaturgy given the fact that criticism is a big part of what we do here.
However, I would note that he hits completely on the nose regarding Blog Suspicion in terms of much that is done. However, The Savannah Dramaturgy does not exist for the purpose of criticism alone. Critics are, by their nature, disinterested outsiders who give feedback.
This is not the mission of our publication here, as we are, instead, highly interested that our community as a whole flourish. Critical reviews are only worth the time if you think that the figures involved can do better, after all. It is our sincere hope that we may join with thespians in Savannah in order to construct a sustainable dramatic enterprise.
As such, we remain your faithful servants, The Savannah Dramaturgy.
However, I would note that he hits completely on the nose regarding Blog Suspicion in terms of much that is done. However, The Savannah Dramaturgy does not exist for the purpose of criticism alone. Critics are, by their nature, disinterested outsiders who give feedback.
This is not the mission of our publication here, as we are, instead, highly interested that our community as a whole flourish. Critical reviews are only worth the time if you think that the figures involved can do better, after all. It is our sincere hope that we may join with thespians in Savannah in order to construct a sustainable dramatic enterprise.
As such, we remain your faithful servants, The Savannah Dramaturgy.
Wednesday, October 14, 2009
Some More of the Business Model
Recently, I was cruising the blogosphere, and found the following ideas regarding our business model from Chris Ashworth. Aside from churches, it is a simple PRESENCE in the community at large that might be something we consider.
Riddle Me This: One Day of Service?
Ladies and gentlemen, I'd like to take a moment to pose a question to the Dramaturgy readers and the Savannah theatrical community in general.
If some form of service project were to be arranged/planned by our editorial staff, might the thespians of Savannah possibly consider signing on to that project to make it more general to the community? I was thinking perhaps a day of work with Habitat for Humanity (we DO have capable carpenters among us, after all) or something with the Park Service.
At the moment, there is nothing solid planned. Yet I am hoping that some of our producing agencies might be willing to sign on and make it a form of collective endeavour.
If some form of service project were to be arranged/planned by our editorial staff, might the thespians of Savannah possibly consider signing on to that project to make it more general to the community? I was thinking perhaps a day of work with Habitat for Humanity (we DO have capable carpenters among us, after all) or something with the Park Service.
At the moment, there is nothing solid planned. Yet I am hoping that some of our producing agencies might be willing to sign on and make it a form of collective endeavour.
Tuesday, October 6, 2009
Some considerations for a Working Model of the Beautiful Process
While recently cruising the blogosphere, I stumbled across a discussion regarding the nature of the dramatic arts, particularly in terms of its relationship to the community.
Over at 99 Seats, there is a discussion comparing theatre to sports in terms of the nature of the activity and relationship to the community, particularly as an economic generator.
However, some very cogent responses are found at the Mission Paradox blog, in the fact that there is a certain fragmentation in theatre that makes things less similar to sports teams and more similar to churches.
Indeed, the tag at the end of Mission Paradox, "Go Serve Somebody," may very well be one of the single best pieces of advice for the advancement of our beautiful process. We, as individuals and institutions, are community trustees and should act accordingly.
Over at 99 Seats, there is a discussion comparing theatre to sports in terms of the nature of the activity and relationship to the community, particularly as an economic generator.
However, some very cogent responses are found at the Mission Paradox blog, in the fact that there is a certain fragmentation in theatre that makes things less similar to sports teams and more similar to churches.
Indeed, the tag at the end of Mission Paradox, "Go Serve Somebody," may very well be one of the single best pieces of advice for the advancement of our beautiful process. We, as individuals and institutions, are community trustees and should act accordingly.
Monday, October 5, 2009
Last of the Red Hot Lovers: Little Theatre of of Savannah
It was once written in Time that, "If Broadway ever erects a monument to the patron saint of laughter, Neil Simon would have to be it." And, based upon the Little Theatre of Savannah's recent production of Last of the Red Hot Lovers, this would seem to be a fair enough assessment.
Though Simon is simultaneously considered an award-studded superstar (usually by the general populace) and a cosseted writer of commercially viable fluff, one cannot deny that he is, at the very least prolific. The key is, at this sort of point, to simply accept the work for what it is, a sentimental and unchallenging piece of work that asks little of the audience but to sit back and enjoy.
As such, though one wishes that the Board of Governors had meditated on a slightly more energetic work (particularly given that this piece was done not long ago out at the Savannah Community Theatre), the cast has done a delightful job of spinning these yarns into a light and delicate (if not elegant) lattice of neuroses and sexual repression.
Justin Kent, as nebbish Barney Cashman, is delightful in his numerous abortive attempts to jump on the sexual revolution bandwagon before it is too late. Mr. Kent builds in confidence and attention to detail with each tryst, and one truly does get the idea that he is learning something, even if it isn't what he had originally intended. Elaine Navazio, played by Lynita Spivey, is a stereotypical tough broad from NYC. Given Ms. Spivey's other excellent work in our community (Urinetown and Inspecting Carol to name a couple) it is a shame that she was saddled with a walking cliche of minimal interest. Indeed, this is a problem faced by all three of our ladies, as they are really only ciphers in the transformation of Barney Cashman. Eve Butler, as Bobbi Michele, makes her return to the Savannah boards by building the picture of paranoid, yet compelling, nymph; while Nicole Koplik faces the daunting challenge of playing a depressive prude in a sentimental comedy... while keeping it interesting for nearly forty minutes. Each of these actresses does a fairly remarkable job with the materials given her, it just so happens that the material was woefully short in supply.
Though director Grace Diaz Tootle and he cast have assembled a fairly effective presentation of Mr. Simon's script, the piece is, like much of his early work, weak and one-sided. Given other offerings from the same author (or options for the castable material) it is our sincere hope here at the Savannah Dramaturgy that the Little Theatre's Board of Governors decides to make slightly more interesting choices in the future.
Though Simon is simultaneously considered an award-studded superstar (usually by the general populace) and a cosseted writer of commercially viable fluff, one cannot deny that he is, at the very least prolific. The key is, at this sort of point, to simply accept the work for what it is, a sentimental and unchallenging piece of work that asks little of the audience but to sit back and enjoy.
As such, though one wishes that the Board of Governors had meditated on a slightly more energetic work (particularly given that this piece was done not long ago out at the Savannah Community Theatre), the cast has done a delightful job of spinning these yarns into a light and delicate (if not elegant) lattice of neuroses and sexual repression.
Justin Kent, as nebbish Barney Cashman, is delightful in his numerous abortive attempts to jump on the sexual revolution bandwagon before it is too late. Mr. Kent builds in confidence and attention to detail with each tryst, and one truly does get the idea that he is learning something, even if it isn't what he had originally intended. Elaine Navazio, played by Lynita Spivey, is a stereotypical tough broad from NYC. Given Ms. Spivey's other excellent work in our community (Urinetown and Inspecting Carol to name a couple) it is a shame that she was saddled with a walking cliche of minimal interest. Indeed, this is a problem faced by all three of our ladies, as they are really only ciphers in the transformation of Barney Cashman. Eve Butler, as Bobbi Michele, makes her return to the Savannah boards by building the picture of paranoid, yet compelling, nymph; while Nicole Koplik faces the daunting challenge of playing a depressive prude in a sentimental comedy... while keeping it interesting for nearly forty minutes. Each of these actresses does a fairly remarkable job with the materials given her, it just so happens that the material was woefully short in supply.
Though director Grace Diaz Tootle and he cast have assembled a fairly effective presentation of Mr. Simon's script, the piece is, like much of his early work, weak and one-sided. Given other offerings from the same author (or options for the castable material) it is our sincere hope here at the Savannah Dramaturgy that the Little Theatre's Board of Governors decides to make slightly more interesting choices in the future.
Thursday, October 1, 2009
Dearth of Material? We're in Savannah!
With the sudden explosion of dramatic activity and thought taking place here in Savannah, there comes the next logical question: How do we keep it up? The next issue at the heart of the Beautiful Process is also the idea of keeping it up, of sustainability. In the blaze of glory that is the opening of a new company, it is all to tempting to run with all of our dream projects and leave nothing for another day.
Such was what I had rattling around in my head when I stumbled upon this link from MIT. MITs City as Stage, City As Process. And, I thought, how fitting. If we should run out of plays or projects to perform, there is always the option of drawing upon the city itself.
We are fortunate to live in a city as unique and beautiful as this one. Indeed, this is probably one of the primary reasons many of us have decided to remain here as opposed to wandering off to a city with a larger and more lucrative market. Given our particular affection, why should we not express that love while at the same time practicing our art in a way that is mutually beneficial?
Thus, while it can be tempting to remain in our venues, we should endeavour to utilize this whole city as our canvas, our stage. Let us perform our shows, and let us perform Savannah. There are innumerable stories, from those with pathos and grandiose passion to the whimsical and eccentric (just read Midnight in the Garden of Good and Evil if you're wondering). Let us draw on this source for materials upon whihc to build our theatre. Let us use them as knots to bind ourselves tightly to this community we hold so dear.
Such was what I had rattling around in my head when I stumbled upon this link from MIT. MITs City as Stage, City As Process. And, I thought, how fitting. If we should run out of plays or projects to perform, there is always the option of drawing upon the city itself.
We are fortunate to live in a city as unique and beautiful as this one. Indeed, this is probably one of the primary reasons many of us have decided to remain here as opposed to wandering off to a city with a larger and more lucrative market. Given our particular affection, why should we not express that love while at the same time practicing our art in a way that is mutually beneficial?
Thus, while it can be tempting to remain in our venues, we should endeavour to utilize this whole city as our canvas, our stage. Let us perform our shows, and let us perform Savannah. There are innumerable stories, from those with pathos and grandiose passion to the whimsical and eccentric (just read Midnight in the Garden of Good and Evil if you're wondering). Let us draw on this source for materials upon whihc to build our theatre. Let us use them as knots to bind ourselves tightly to this community we hold so dear.
The Way Forward
To our esteemed readers, we here at The Savannah Dramaturgy give thanks for your support. Due to a combination of copious production activity, the month of September was our busiest to date, topping out at well over 900 hits for the month and averaging 40 per day.
Our hope is that the Savannah theatre community, along with the arts community more generally, will continue to engage with us. Our goal is not only for the dramaturgy to provide feedback and theoretical underpinnings to what we do here, but also to become a place for conversation, engagement, and advocacy.
Your loyal readership is what will help us move forward and, hopefully, turn this into a self-supporting institution one day.
Our hope is that the Savannah theatre community, along with the arts community more generally, will continue to engage with us. Our goal is not only for the dramaturgy to provide feedback and theoretical underpinnings to what we do here, but also to become a place for conversation, engagement, and advocacy.
Your loyal readership is what will help us move forward and, hopefully, turn this into a self-supporting institution one day.
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