April 1, 2007 |
THOUGH he's no stranger to the spotlight, Kevin Spacey bristles when news reports on the Olivier Awards focus on his film connections: " 'The Hollywood contingent was represented by Kevin Spacey.' I go, 'What are you talking about? I come to work at this theater every day.' " The actor, now in his third season leading London's Old Vic, isn't the only celebrity artistic director who has found that fame is a double-edged sword.
December 8, 2006 |
The eye-rolling. The heavy sighs. The reaction of dance, music and theater companies facing their umpteenth "Nutcracker," "Messiah" or "A Christmas Carol"? The answer might be surprising: not necessarily. Audience enthusiasm helps companies keep it real -- and fresh. So does the challenge of reinvigorating what is bread-and-butter fare for many. Not that such a positive attitude is unanimous, said David Wilcox, artistic director of Long Beach Ballet.
December 26, 2000 |
Shopping center developers won't be pinning their hopes on new movie theaters in 2001--as they have done for the last few years--and many owners of centers will face a daunting task trying to fill former theater space with new users. Although a few theaters will be built next year, continuing troubles in the industry have already caused some developers to abandon plans for new theaters and to be ready to spend a lot more money if they want to include theaters in a new development.
June 29, 1986 |
Technically, the movie projectionists' union is still on strike against West Los Angeles-based Landmark Theatre Corp. But as the walkout stretches into its second year, the visible signs of a labor dispute have virtually disappeared. It has been more than a month since Landmark won a National Labor Relations Board ruling that prohibits the projectionists from picketing the Goldwyn Pavilion Cinemas at the Westside Pavilion.
July 4, 1999 |
Three years ago, when August Wilson created a sensation by condemning colorblind casting, he did it within a speech to the national conference of the Theatre Communications Group, the primary service and advocacy organization for nonprofit theaters. So theater observers wondered if the organization's next conference, held here in late June, might stir up a similar storm. It didn't.
October 26, 1987
Bringing the excitement of live opera performance into the classroom is a little like trying to give the full flavor of a circus with only a pair of clowns and a bag of peanuts. Scaling down this extravagant, sophisticated art form, yet retaining its essence, is the primary challenge to stage director and actor, William Roesch. Roesch, San Diego Opera's education director, wants to erase the usual operatic stereotypes.
July 23, 1998 |
At 2nd Stage Theatre in Hollywood, backstage is claustrophobic. In the dressing room, which is 15 feet by 11, you can imagine what a tight squeeze it might be for a stagehand, a dresser and, say, two actors doing a play like "The Gin Game." But these days, this tiny backstage is home every night to 16 people who rub elbows--and much more--in the Blank Theatre Company's production of "Hello Again," the Michael John LaChiusa musical about, appropriately enough, intimacy.
July 9, 1994 |
Quiet Zone Theatre, an amateur troupe catering to the deaf and hard of hearing, will present magic acts, mime, skits and lip-synced songs on its seventh annual benefit program tonight at Irvine Barclay Theatre. Everything will be presented in sign language, but charter member Joshua Vecchione assures that a "voice interpreter" will translate for those who don't understand the hand signals.
February 5, 1995 |
One of Antonin Artaud's more enduring legacies to the modern actor was his urging, in effect, to reach through fire for a performance. For the deaf actor, the reverse is true: A performance has to be sculpted out of the ice of silence. Up until relatively recently, it was impossible for any deaf actor to navigate a major stage role without benefit of a hearing aid or some other translating device for a medium that is, after all, based on words.
September 8, 1991 |
Until about 30 years ago, a score of traveling theater troupes toured small Irish towns and villages. Typically headed up by a flamboyant actor-manager, these troupes would stop in a particular village--like this one hard by the Ulster border--for a week at a time, pitch a tent on the edge of town and perform their repertoire. The actors might have seen a new film in a larger town or city, and would re-enact it for the villagers who lived in areas too remote for moviegoing.