Nine wishes for NYC theater

Re: Number 9. Try this - www.myspace.com/republicthemusical

One reason theatre bloggers don't engage each other: They all hold world views that are pretty much the same. Ask yourself: Do you know more than three theatre bloggers (or three people in the theatre industry for that matter) who you think might have voted for McCain? EXACTLY. Try reading me at Big Hollywood: http://www.bighollywood.breitbart.com/sright

As far as #10. Speaking as one of many composers who are attempting to write original musical theatre, there is a massive amount of good original shows being written. The problem is that commercial producers are unwilling to give these shows a chance.

As for #7: I will hazard a response that (while heartfelt) puts me at risk of sounding like I'm writing a Manifesto. Here goes: Any architectural innovations to the theatre are frivolous and superficial unless made neccesary by our directors and designers. Its high time we see meaningful changes to commercial staging conventions. Almost 400 years after Shakespeare's death we're still building theaters and blocking shows as if we're concerned about The King's sightlines.

What great conversation in response to this article! I agree with #1 - BAM has done a much better job at marketing to younger audiences and making the lobby a social destination. The Public has a much better location, it should be doing this much better. I question #2 - Increased AEA power would destroy a fountain of inspiration and integrity. AEA would only further close off the theatre from young self-producing artists. But if you're talking about a totally seperate & new Union then I'm down!

#6. Yes! I'm sick and tired of people complaining avante garde, Brechtian, experimental, dream like, Pinteresque, absurdist inspired topics or shows. I'm also tired of people walking out of shows. Nothing is more enraging as someone walking out of a show. Tisk tisk.

BIIIIG time kudos for #4! Who but the dumbest hipsters will rush to see "I Can Hz Chzburger: The Musical"??? Get some cred, Fringe Fest! My suggestion for playwrights: Get ambitious! No more puny problems of puny people ("Distracted", "Saturn Returns", "A Lifetime Burning")...the success of "August: Osage County", "The Coast of Utopia" and "Ruined" points to an audience craving writing beyond the foibles of the upper middle class.

Exciting! Thanks for making theatre important enough to rant about! the live arts are NOT dead. Very fun. This is an exciting time in NYC - I'm glad to be part of it. And as for # 4 - bravo! And as for equity? yes, those fools could have been mentioned. They hurt independent theatres and artists.

In response to the other Jodi in the comments section. It would be wonderful if initiatives like Signature's $20 for every seat in the house could be replicated city-wide. It is a trend that is picking up - most nonprofits are implementing some version - Bye Bye Birdie and Hamlet both offered advance sales at lower prices.

I have to say, honestly I disagree with most of these. #2 will cause much more trouble. #7 part of our problem is we have building buildings not content. #4 and #6 I can more or less agree with. But my biggest wish for NYC - increased funding for DCA. It is the most functional government agency for the arts nationwide and sets a standard no other meets.

How about find a way to make theatre more accessible to those without large incomes? Totally agree with the comments calling for breaking up of the unions. They cripple the theatre business.

Yes to all, and to most of the ideas in the comments. I'll agree with #7 if it is a MIDSIZE theater or two, which might provide a place for those "artistically valid" Fringe shows to play and for never-destined-for-Broadway shows to grow into. #10 - dramaturgy for everyone

It is commendable that you use your real name, but your comments reek of bitterness, which I can only assume stems from the response to your last show. If you are going to look online for criticism, don't be surprised when you find it. I'm sure there are bloggers that fit your description, but more often than not, I've found theater bloggers to be very educated. Everybody has the right to express their opinion, not just "critics," and the more voices out there, the better.

Hi David. I actually agree with all ten of your points wholeheartedly (although I really should plead ignorance regarding 3). I'll add one more because we can all dream: AEA and all theatre related unions, dissolve yourselves effective immediately!

Agreed with #4 and #9, but totally disagree with #7. The new theatres being built all across the country are often plain, cold, unattractive and definitely not as unique as the theatres built before. Every time I see a show at an antique jewel box theatre or something like it, people are dazzled and in awe at how intricate the designs are and how special just the actual theatre is. Being in such a beautiful, unique environment just helps in making an evening at the theatre so much more memorable

I don't agree with needing architectual alternatives. Most of the current theaters just need to be renovated. Look at what Disney did with the New Amsterdam, it's beautiful. Many people enjoy the history of the old theaters. Look them up, you will find out that the theater you visited used to be a vaudeville house where young Fred Astaire performed or that theater you saw Hairspray is where Ethel Merman made her Broadway debut. If a show is good, it doesn't need a fancy new theater.

Roundabout is the biggest offender. LCT in the past 2 years has produced stellar works like Joe Turner, Estate, South Pacific, Clean House on their mainstages, and is actively working to create a CHEAP alternative with LCT 3 and their studenttix program. MTC had Ruined, Doubt, From up Here, Top Girls, etc. I'd like to see a team of actor, director, playwright at the helm of the Roundabout, which consistently has the most duds in their dartboard method of choosing plays & casts.

From your mouth to God's ear.... I worry about the latest generation of composers. Where is the next Sondheim? Who will delight us like Herman or Hammerstein? (Amen about Guettel.) But not only composers - Mantello has not taken up the mantle of the great directors before him. He is no Hal Prince. Although, who is?

I disagree with #7. But the rest is possible.

Regarding #7, you are effectively knocking the history of American theatre simply because you have a bias against architecture older than 80 years. Sometimes, ancient is just another word for timeless. I have never seen a play on Broadway that felt "musty" because of its surroundings. I have seen very few "modern" theatres that had more than the personality of a lavatory (including the new HMT). And Gehry is the last person I would choose for a building that had even that much functionality.

#1 and #9 are genius. As for #9, we need some more Adam Guettel pronto!

Nice article. Here is my response to your #10 -Stop labeling everything. -Encourage a much higher level of cross disciplinary collaboration -Integrate new technology in a less anecdotal way -Partner with corporations and other mechanisms to create independence from curators, administrators and grant committees. -Push theater's role in society beyond general entertainment, social commentary and self service to the artists who create it so that more people care about it in the general public.

Good list. Every bit of it. I'm particularly behind number 3. Once inspired artistic directors become place holders, unwilling to give up their power, after about 10 years. It's a problem that plagues the Off-Broadway nonprofits and regional nonprofits as well.

Eek! To want to give bloggers more power seems not only a frightening prospect, but a downright dangerous one. I am an actor who has admittedly scoured the internet for bloggers' "reviews" and "dirt" and have found them to be more often than not dangerous, cruel, irrational, and from an uneducated POV! If anything the internet has just become a pool for everyone to vomit up their 2 cents in. God help us if some of these people become critics. Words are weapons and need to be handled as such.

Respectfully, David -- having attended Opera in Bklyn at Galapagos -- there's NOTHING more depressing than slow, complex, orchestrally "rich" and dramatically/melodically challenged contempo opera willfully unconcerned with holding a general paying audience's head, heart or ear. I find #9 on your list a lil' self-serving, bucko. I'd rather sit thru (echh) LBlonde again than Witches of Bushwick. BTW, I didn't find YOUR libretto unbearable. Just the "rich" musical gruel attached. Save us all

I know for a fact that number 1 and number 2 are already happening. But yes - good list! more power to you! jc - subjective theatre company

There's plenty of haranguing and trumpeting and dish and discussion at the Clyde Fitch Report. Manifestos are for Futurists and Marinetti, if memory serves, is dead.

I'd like to see more works be developed past the Off-Off Broadway/Showcase phase. Producers (not-for-profit and Broadway) do not attend enough of the development productions. On this past Monday night, the IT Awards recognized some of the best from 2008-2009, why aren't other professionals in the business recognizing them too!

How about have TONY not waste the incredible talent in its arts' sections by actually writing about these disciplines beyond it's 100-word blurb reviews? Or maybe just move its critics to a new publication that is more than an advanced listings 'zine for tourists? Too enraged?