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1100 Playwright Interviews

1100 Playwright Interviews A Sean Abley Rob Ackerman E.E. Adams Johnna Adams Liz Duffy Adams Tony Adams David Adjmi Keith Josef Adkins Nicc...

Apr 6, 2007

explain this to me

OK, so I'm not like checking this all the time or
anything and I do do work at work. i swear. Just ask
the pile of completed work. but someone please
explain to me how my amazon sales rank was around 2
million yesterday and now is at 126,643. I mean I
know it doesn't mean I sold a couple thousand books
yesterday but what does it mean exactly? How is it
possible for something to fluctutate like that?

OK, sorry for bothering you. Go buy my play.

http://www.amazon.com/Deflowering-Waldo-Adam-Szymkowicz/dp/0822221365/ref=pd_bbs_sr_1/104-1699331-0565554?ie=UTF8&s=books&qid=1175865671&sr=1-1

A show I'm looking forward to



It's by "blogger" Larry Kunofsky and it's a riot. I highly recommend. I'm going opening night. There's a party after. You should go.

Dying City discounts

The following discount codes work on
broadwayoffers.com:

With a student I.D., up to two tickets @ $10/ticket:
DC4TONY

Up to 6 tickets @ $45/ticket, open to anyone: DC45LCT

Apr 5, 2007

I have a play in this




I'm in good company. the other plays are by Anne Washburn and Quiara Alegria Hudes. The book also includes an intro by George Hunka and essays by Caridad Svich, Garrett Eisler, Alan Lockwood, and Brook Stowe.

Also photographs from all the productions and from the benefit at the brick featuring some other great theatrical luminaries.

In Seattle very soon

Apr 2, 2007

Plays you should know

Dead City by Sheila Callaghan The Internationalist by Anne Washburn Clean House by Sarah Ruhl Tragedy: A Tragedy by Will Eno Mr Marmalade by Noah Haidle The Intelligent Design of Jenny Chow by Rolin Jones

interview of David Cote

http://praxistheatre.blogspot.com/2007/03/10-questions-david-cote.html

"7) How much do you think artists should be changing
their work or their creative direction based on
critics' feedback?

Well, if the quality of critics were high, I'd say
that they should. But generally, theater critics are
almost as irrelevant as theater is to the average TV
and film-addicted booby. My younger colleagues are
smart and talented, but the most influential critical
posts in this city are jealousy guarded by a wizened
knot of nostalgia-drenched mediocrities who have no
idea what the next generation is doing and can barely
stay on top of what's happening on Broadway. They are
advocates of nothing but their own pathetic memories
of musicals or plays in the 60s and 70s; they have
about as much vision as the bureaucratic philistines
we call artistic directors."