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Something I often see in Artistic Directors of theatre in the US is that they forget that technicians (and scenic build, load in, focus, quiet time) are a part of the artistic process. They view the work of carpenters and electricians as simply labor rather than an integral part of the whole.

Tesla stock below $300 and space x around $112. YES. LET THEM FALL.

I am in Michigan for the next week, which means I am being targeted across my socials with many shady ads about Abdul El-Sayed. I hope he wins!

Flew into DTW late tonight as my flight out of LAX was delayed by many hours. If I had arrived at my originally scheduled reasonable hour, my dad would've picked me up, but as it was so late I took an Uber.

I am seeing some clips of regional theatre leaders promoting upcoming shows on the socials, and while these people may well be very good in the room, it does not translate to vertical video.

Several years ago, when I was still an artistic director, I had a presentation to our big regional funder which would determine the size of the theatre's grant for the next 3 year cycle. Core to our case was that we paid a living wage, and often paid artists more than theatres many times our size.

I am working very hard to get into the habit of reading a magazine as soon as it arrives and then recycling it, so that I don't end up trying to create shelf space for another 20 years worth of Rolling Stone.

"We figured out how to pay development directors. We should figure out how to pay carpenters." - says the outgoing artistic director with a salary of nearly $900k / year. No kidding, dude. www.latimes.com/entertainmen...

‘It’s not coming back’: Giant of the stage and L.A. theaters confront the end of the nonprofit movementOskar Eustis, who's stepping down as the artistic director of New York's Public Theater in 2028, shook up the arts world with his comment that the American nonprofit theater movement was over. He expl...www.latimes.com

I don't know why WBD stock went down on the news of the freeze on the Paramount merger... the company should make nearly $2 billion from the ticking fee that starts at the end of September if the deal goes through in June. AND if the deal falls apart they get $7 billion!

In the rapidly approaching 26-27 theatre season I'm lighting 2 very different Hamlets, a Merry Wives (my first!), and designing the set for Coriolanus. Next month I'm lighting The Bed Trick, but alas, that probably doesn't count as All's Well for my personal Complete Works tracking.

Anyway: hashtag LORT theatres hire me to make plays challenge.

A thing that just occurred to me is that I am now about the same age as Blake Robison was when he became Artistic Director of Cincinnati Playhouse 15 years ago.

Most plays are never produced, most screenplays are never fillmed, most poems are never published. And yet here we remain, writing in hope that someone will find it and say, "oh." Or maybe just exhale slowly as they reach the final word.

12 years ago, I was asked by American Theatre magazine, "What does theatre—not just your theatre, but the American or world theatre—look like in, say, 20 years?" Here was my reply: 1/6

When you make theatre in small rooms (whether IRL or digital), you know that your audience won't be vast. So you really hope to reach the *right* audience for every given show, and it's always so gratifying when it connects. Maybe our production of The Luminous Dead will also connect with you?

I spend too much time thinking about ways to improve institutional models in the American Theatre for someone who is no longer in a position to implement any of them.

I spent Saturday shovelling around 700 pounds of decomposed granite and my core muscles are still *feeling* it.

From my very first trip to LA, 24 years ago today.

This series is great! You should watch it!

Oh no.