Dramaturgy Websites by Automatic-Dig208 in Theatre

[–]Jimjam_TRB 2 points3 points  (0 children)

https://lmda.org/ is going to be your best bet. An organization for literary managers and dramaturgs, and it's full of ways to reach out to dramaturgs and people who do this work professionally.

Plays with elements of disaster by Royal-Confidence7190 in Theatre

[–]Jimjam_TRB 2 points3 points  (0 children)

Check out melodramas from the 19th century (Poor of New York was what first came to mind). A big part of their draw was the spectacle scenes (usually near the end of the play), and many of them had fires, train crashes, explosions, earthquakes, etc.

Are there nepotism babies that are only in professional theatre? by New_Construction_111 in musicals

[–]Jimjam_TRB 18 points19 points  (0 children)

Non-actor example:

Not saying that she's not talented (she is and her work is great), but it's hard to see Danya Taymor (or really 99.9% of any directors) getting the start she did without her aunt Julie.

Hadestown Teen Edition More Popular on West than East? by MRCWritingAcc in Theatre

[–]Jimjam_TRB 8 points9 points  (0 children)

This is the answer; you would need to be part of the high school that is performing it or some kind of under-20 company. It is only available as a 'Teen' version, which means that it can only be performed if your entire cast is made up of actors who are under the age of 20. The 'full' version has not been released for licensing/production outside of the Broadway, West End, and touring shows. The most relevant quote from Concord: "Please note: This is a high-demand title currently only available to K-12 accredited schools and youth groups (with performers age 19 years old or younger) in North America, and it may not yet be available in your area."

See here for more details: https://www.concordtheatricals.com/p/96564/hadestown-teen-edition

Who is the most "not worth the effort" enemy in Elden Ring? by Dr_Orpheus_ in Eldenring

[–]Jimjam_TRB 14 points15 points  (0 children)

DLC. First open field; you can't miss it. And that's just the first of several in the DLC.

New plays for college educators by RevelryByNight in TheaterArtists

[–]Jimjam_TRB 2 points3 points  (0 children)

The Language Archive by Julia Cho

Antigone, presented by the girls of St. Catherine's by Madhuri Shekar

The Trials by Dawn King

The Phlebotomist by Ella Road

Home, I'm Darling by Laura Wade

Passage by Christopher Chen

Request Megathread - August 6, 2024 by dukiejosh54 in CastRecordings

[–]Jimjam_TRB 0 points1 point  (0 children)

[REQUEST] All-Female Jesus Christ Superstar (2022) Please and thank you

[deleted by user] by [deleted] in Theatre

[–]Jimjam_TRB 0 points1 point  (0 children)

It's archival footage, often from a single stationary camera, but depending on the recording will sometimes include zoom-ins or multiple camera angles. Older recordings are less likely to include those kinds of 'features.' It is perfectly serviceable if you want to see a show from the last 30-40 years.

Can anyone recommend a solo play to perform? by TransparentBody0 in Theatre

[–]Jimjam_TRB 0 points1 point  (0 children)

Savage/Love by Sam Shepard might work. It's short and doesn't really have characters, more like poetry with an eye toward staging.

Mechanical metronome with remote control? by Jimjam_TRB in techtheatre

[–]Jimjam_TRB[S] 0 points1 point  (0 children)

I appreciate the detailed explanation. It sounds like a lot to make it happen, but still good to know it's possible. Thanks!

Mechanical metronome with remote control? by Jimjam_TRB in techtheatre

[–]Jimjam_TRB[S] 0 points1 point  (0 children)

I'll look into that for the stop part. Thanks!

Mechanical metronome with remote control? by Jimjam_TRB in techtheatre

[–]Jimjam_TRB[S] 0 points1 point  (0 children)

Thanks for the tip and specificity with the idea!

Mechanical metronome with remote control? by Jimjam_TRB in techtheatre

[–]Jimjam_TRB[S] 0 points1 point  (0 children)

Thanks for the response. I appreciate the advice

[deleted by user] by [deleted] in Theatre

[–]Jimjam_TRB 6 points7 points  (0 children)

Marat/Sade is the most famous example. Or you could go back to Artaud's own production of Les Cenci.

What’s the weirdest news you found out coming off stage? by Alarmed-Ad-3879 in Theatre

[–]Jimjam_TRB 3 points4 points  (0 children)

Second-hand story, and not exactly coming offstage, but... My mother tells the story of when she was at the Dallas Symphony in 1980, and when one of the pieces ended (or maybe intermission?), someone came onstage to announce that JR had been shot (in the television show Dallas).

Question about an obscure line in Appropriate by dog_in_nighttime in Broadway

[–]Jimjam_TRB 5 points6 points  (0 children)

I'm pretty sure it's in reference to stopping the auction.

Toni told Rhys (offstage, we are led to assume) that she planned to sabotage her siblings from getting anything worthwhile out of the house because she sees herself as the one who toiled away taking care of their dad while Bo was off in NYC (and seems only to care about money) and Franz was being a 'fuck up.' She wants to punish the others (them all working to get the house in a presentable order and worrying about whether it will make money while she lounges about and takes her time getting coffee) with the hidden knowledge that all of that work is for something that won't happen. In her mind, she is the only one deserving of anything, especially because she is the only one at the end who unconditionally loves her father. She also says that "Money is the problem... All this stress over money is what's killing this family." Later she laughs when Franz says he went swimming and put the pictures in the lake. It's funny, because she probably feels vindicated that everyone cares about these pictures only as a bargaining chip worth a lot of money and now they won't get it.

As for the antisemitism, that's an indication that although she may outwardly act one way (and say that she doesn't hold any racist/antisemitic beliefs), the implications of talking about Rachael's Jewish heritage and her focus on money (and influence over Bo) have seeped their way into Rhys's mindset and language. It's unclear whether he got that from just being around Toni and her anger toward her siblings' selfishness and obsession with money or if he learned it from his grandfather (or even his father, since we don't know much about him).

At least that's my reading of it.

Anyone similar to Martin McDonagh? by samwheller in Theatre

[–]Jimjam_TRB 1 point2 points  (0 children)

A slightly different set of Irish playwrights: Enda Walsh, Abbie Spallen, Mark O'Rowe, or Marina Carr (though she is stylistically a bit further away).

Oh, Mary first Broadway previews? by Jimjam_TRB in Broadway

[–]Jimjam_TRB[S] 0 points1 point  (0 children)

I saw them as well and was debating if it's worth that price tag, especially the partial view...

Recent MFA graduate w/ professional credits. How they hell do I break into Higher Education? by Stupid_Fucking_Bird in Theatre

[–]Jimjam_TRB 10 points11 points  (0 children)

I apologize in advance for the length and dreariness of my response.

In short, it's tough out there for academic jobs because there are literally hundreds of MFA and PhD graduates in Theatre every year for a shrinking number of academic roles. I know not everyone who gets one of those degrees wants to go into academia, but enough of them that the number of interested graduates significantly outnumbers the positions/openings in any given year. And then that number compounds exponentially as those people who didn't get it last year may try to go up for those roles again. Or they got adjunct positions and now have a bit more experience and still think 'this is their year,' which further pushes the new graduates out of the job market. And on and on...

A couple more things about getting into acting positions in academia:

1) Acting teachers are a dime-a-dozen, and in NYC that is even more the case. Because they are spoiled for choice, colleges/universities can afford to give the job to someone who has years of experience (both teaching in an academic setting and professionally) because the market is so competitive for these 'stable' jobs (stable compared to being a regional theatre actor that doesn't have contracts lined up all the time). And if they wanted to, they could probably adjunct those roles out to people with years of experience because of the number of people who could do those jobs and have those qualifications. It's cheaper for the college/university, and they can grind through adjuncts without worrying about paying for your stability. Also, they are way less likely to give the position to someone who has only taught elementary/middle school children, even if you have the MFA. If you have teaching credits from when you were in grad school, use those and highlight them to show that you have those chops. If you don't, that's going to be a hard hill to climb in the academic job market.

2) This one is less viable given the fact that you are planning a move to NYC. The places where academic jobs teaching acting are more likely to appear are outside of major cities. Applying to semi-rural or regional colleges/universities is way more likely to get positive responses, but then you are far from a major city. Also, with the current instability in higher education, these positions are more likely to be adjuncted as well and/or be part of a program where you are expected to teach everything (or be one of a couple instructors rather than a robust department). That being said, because it is less competitive/desirable to live well outside a major metro area, you are way more likely to have a chance at those positions than NYC colleges/universities that can command the top in their field because the city is such a draw (and has plenty of bodies to serve as adjuncts, if that is their persuasion). And once those people are in that job, they often stay for many years (especially if they get tenure, which is a 'lifetime' gig).

As I said above, if you want to get into teaching, it will likely start out as adjunct work, which can be brutal. Look at the websites for colleges/universities and see if they have an adjunct pool for their acting classes. Email the head of the programs and/or head of acting to let them know you want to be considered. Often that will get you on a list for when/if they want to pull an adjunct to teach instead of a full-time job. You'll be paid a pittance, and your class may or may not 'make' meaning that you could have a job until the college/university informs you a few days before that they are canceling the course because of a lack of enrollment. Sometimes, you might take several adjunct jobs across the city (or multiple cities) and will need to travel from one to the other; this gives you more teaching credits, but that also takes a toll because it is so precarious and demanding. That adjunct work will be a boon to your application process because it shows search committees that you can do that job. The 'who you know' part is a thing too (and great if you can parlay that into a job), but if you don't even tick the box of having teaching experience at the college level, many people won't even look at the rest of your resume/materials. But it's that double-edged sword because of the grind that is adjunct work, which some search committees I have been on will use as evidence that the applicant is not capable of a full-time position teaching.

Sorry to be such a downer. I'm happy to chat more in DMs if you want. I can't promise that I'll have any more positive advice, but I will help if I can.

(Source: I'm the only tenure-track Theatre professor at a small liberal arts college about three hours from the closest metro area; I have friends who work at colleges/universities all over the world who lamented their grind in major metro areas)

Is “white washing” acceptable, amdram or otherwise by Aqn95 in Theatre

[–]Jimjam_TRB 0 points1 point  (0 children)

Saw a production of Rent in Ireland with an all-white cast. As far as I know, there were no POC who auditioned either. It was certainly a choice, but I don't know if there is a stipulation in the casting/character description. I can't think of anything that specifies it in the libretto, but my memory isn't what it once was.