The New York Times: January is known as a time when New York commercial theater recovers from its holiday bender and takes a break from openings.
It’s another story for the experimental performance scene, which struts its stuff at festivals such as Under the Radar, Prototype and Exponential. For someone like Peter Mills Weiss, it’s go time.
1 comment:
Reading about the ever-changing environment of experimental theater makes me wonder about the constraints of budgeting these theaters are under and how tight of timeline exists and when changes are allowed to be made. To a certain degree, this level of theater will have much less to account for given that these performances typically have lower budgets, smaller audiences, and less extensive scenery to account for. Yet, when so much is changing and often technical staff aren’t in the exact same room as it changes, how are others involved in these decisions able to track these changes and ensure they can be achieved? Maybe there is a greater flexibility in terms of shows being able to be delayed and shifted as opposed to other forms of theater in order to account for these changes. Ultimately, good planning and communication is a great help, but in an ever changing world, seeing the budget and the interaction with technical staff would be interesting to learn more about.
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