|
|||||||||||||||
Tuesday May 21st, 7:30pm With (left to right) Kevin Bailey, producer/general manager, co-founder MB Artists (executive producer of Ann with Holland Taylor, produced and represented Jaston Williams, Joe Sears and Ed Howard and the four highly successful plays in the Greater Tuna cycle); Michael Alden, producer (Sarah Jones' Bridge & Tunnel, Spalding Grey Stories Left to Tell, The King's Speech on stage, Grey Gardens, Bat Boy); Matt Hoverman, writer (The Audience, In Transit, Who You See Here), actor and teacher of “Create Your Own Solo Show” workshops (helped create winners of the 2005, 2009, 2010 & 2012 FringeNYC Best Solo Show Awards)); Paul Lucas, producer/general manager/international touring booker (Obie Award winner Taylor Mac, Lortel winner Iris Bahr's Dai (Enough), Obie winner David Drake's Son of Drakula, A Conversation with Edith Head); Josh Rivedal, writer-performer-producer (The Gospel According to Josh). Solo shows are notoriously hard to market in commercial theater, but some have managed to break through. How do you know if your solo performance piece has commercial potential? What are the elements of a solo show that move it beyond the very personal vision of a single artist to something with broad, possibly Universal appeal? If one of the essential elements of "theater" is the interaction of characters, how do you create relationships with only one person on stage? Not all works belong in a commercial environment. What are other markets that can sustain the life of a one-person show, and how does one define success in this specialized world? Doors open at 7:00pm for networking and refreshments, panel starts promptly at 7:30pm. FREE for TRU members; $12 for non-members. Please call at least a day in advance (or much sooner) for reservations: 212/714-7628; or e-mail TRUnltd@aol.com The Players Theatre, 115 Macdougal Street Tuesday April 23rd, 7:30pm
The Players Theatre, 115 Macdougal Street Tuesday March 19, 7:30pm What exactly IS digital marketing? How do you use it, and how do you read those complex backend reports you can get? What other new trends are helping theater keep pace in a difficult economy? And what do other industries do that theater could learn from? The Players Theatre, 115 Macdougal Street, Tuesday February 19th, 7:30pm To many, the American musical theatre industry appears to be in crisis, as there are very few original works from new authors being developed. We are seeing a lot of movies being turned into musicals, and we’re seeing production budgets skyrocket. New voices and "less commercial" properties are simply being squeezed out of the market. So how do we revitalize the musical theater development process? Should we place a greater value on the development work that theatres do – the Labs, the Showcases? To start to view those presentations as being a valuable element in the development of new works, and to ask producers and writers who benefit from that developmental process to contribute to the development of future works from new writers by committing a small portion of income from successfully developed works? The Players Theatre, 115 Macdougal Street, Tuesday January 22nd, 7:30pm (networking at 7pm) Bove, left to right: Lorca Peress, artistic director Multistages multidisciplinary, multi-cultural theatre (The Island of No Tomorrows, Temple of the Souls); Jan Hartley, projection designer (Wagner's Ring Cycle at San Francisco opera, My Kinsman for Bruce Saylor Opera Queens College, The Island of No Tomorrows and Hell and High Water for MultiStages); Stafford Arima, director (Bare the Musical, Carrie revival featuring Marin Mazzie, The Tin Pan Alley Rag, Altar Boyz, The Secret Garden featuring Laura Benanti, Steven Pasquale, Celia Keenan-Bolger & Will Chase, My Mother's Lesbian Jewish Wiccan Wedding, Allegiance); Sven Ortel, projection designer (Broadway: Jumpers, Faith Healer, Deuce, The Little Mermaid, Woman On The Verge Of A Nervous Breakdown, Wonderland and Newsies; off-Broadway: Carrie revival); TRU president Bob Ost; Karen Eterovich, self-producing actor (Cheer from Chawton, Love Arm'd); Richard DiBella, production and video designer (Broadway: The Performers; Off-Broadway: Silence! The Musical, Forever Dusty: The Dusty Springfield Musical, Now. Here. This.); Many producers think that projections are a cost-effective substitute for a set design, but that may not always be the case. Projections can be expensive, and may not work equally well in all venues. And they often are better used as an enhancement to a set, rather than a subsititute, so two designers may be needed, as well as a lighting designer who can work well with both. The use of video, projections and other technology as part of a production should be a carefully considered artistic decision as well as a budgetary one. When does technology enhance and support a concept, and when does it become intrusive or distracting? Should more directors consider technology when they develop a visual approach to a piece, and should more producers plan for it in their budgets? How do a director, set designer, lighting designer and projection designer work together and maintain artristic integrity to create a unified production concept? What advances have been made in recent years to make technology more effective? The Players Theatre, 115 Macdougal Street, 3rd floor Loft Tuesday November 27th, 7:30pm (networking at 7pm)
Wednesday October 17th, 7:30pm (networking at 7pm)
The Players Theatre, 115 Macdougal Street, Mainstage MEMORY LANE (ARCHIVE): CLICK HERE FOR 2012 MEETINGS AND EVENTS. CLICK HERE FOR TRU Voices Plays. Membership | Newsletter | Networking | Officers | Links | Photos | Home Questions or
comments? |
|||||||||||||||
We gratefully thank the sponsors of the 2012 TRU Audition Event!
Click the logos to visit our sponsors' websites, and remember to support the people who support TRU!
|
|||
![]() |
![]() |
![]() |
|
![]() |
Click the logos to visit our sponsors' websites, and remember to support the people who support TRU! | ||