It stands to reason that TR Warszawa, the propulsive Polish company whose Krum just collected an Obie (for Krzysztof Warlikowskis direction, at BAM in October 2007), is staging their willful adaptation of Macbeth in DUMBO. The riverfront streets beneath the Brooklyn and Manhattan Bridges are as dramatic as any terrain in New York City, and TR general director Grzegorz Jarzynas confrontational immediacy in updating Shakespeares gore fest seems echoed by DUMBOs monolithic facades and tightly cropped Manhattan views.
At my first meeting with a literary agent of some repute, I found myself nodding at everything she said, despite whether or not I agreed with any of her pronouncements. One thing I affirmed with my bobbing head was that I was no longer interested in being an actress. All that mattered to me, I assured her, was writing plays. She looked profoundly relieved and offered to take me on as a client.
Since 1996, Clubbed Thumbs Summerworks festival has evolved from a budgeted production of a single, featured play (accompanied by a swarm of smaller, unbudgeted productions performing in off-times) to its current format of three fully-budgeted productions of new plays.
New writers become better writers and more producible writers if you produce them. So says Christian Parker, the Associate Artistic Director of the Atlantic Theater Company (ATC) and one of the primary forces behind its Atlantic Stage 2 program. Stage 2s mission is to develop new plays, but unlike so many programs that claim to have a similar focus, they seem to be putting their money and their stage where their mouth is, particularly with their newest productionAnnie Bakers Body Awareness.