“I don’t think about the audience. If I thought about the audience, I’d be writing Rent.”—Cynthia Hopkins
If you stripped radiant joy of all associations to sentimentality, you might hear the work of composer Nico Muhly on speaks volumes, his first CD.
Throughout the Cold War, the American people were successfully talked into conflating our constitutionally guaranteed freedoms with “free-market capitalism.” These are two different things. There is nothing in the Constitution about profits or markets or capitalism. It’s time to put an end to profiteering as the primary goal behind our foreign policy.
Everyone in New York has cried a wall of tears since it happened.
The plays of Craig Lucas are written with a keen awareness for theatrical space and theatrical silence and includes a wide spectrum of situations: mourning lovers, Hollywood assholes, street kids and more.
Legendary cross-dresser and co-founder of the theater troupe Split Britches joins playwright Craig Lucas for non-stop laughter and revelations about alternative theater, life, drugs, and the busting of conventions in general.
Gerald Busby (deep breath!) made his professional debut as a pianist at 15; toured the Southwest with evangelist Angel Martinez; studied under Charles Laughton, Burgess Meredith, and Frank Lloyd Wright at Baylor University;
The Bohen Series on Critical Discourse: “Equality in the Theater” by Craig Lucas.
“It’s been a very, very strange time. I feel very lost and confused and sort of unclear about what I should be doing with the play, where I should be going with it and where I should be going after the play is done.”
(The Tenor is alone in bed. Two Bassoonists play.)
“That to me is what writing is—to try and strip away the layers.”