two more explanations of WGA strike

http://www.youtube.com/watch?v=PzRHlpEmr0w

http://www.youtube.com/watch?v=8a37uqd5vTw

The other side is really unsupportable, isn't it?

more on Isherwood, thanks to JJW for pointing it out

http://www.huffingtonpost.com/robbie-baitz/all-the-views-fit-to-prin_b_72637.html

open letter to the internet and those who try to push it on me

Stop making new funny/interesting/important videos available on
youtube. I can't watch them at work and I won't watch them at home.

Sincerely,
Adam

P.S. Same thing with podcasts.

Local Story by Kristen Palmer in L.A.

Tickets now available:

http://www.brownpapertickets.com/event/24219

The most important question of our times

Do you own all of my published work?

http://www.amazon.com/by-Adam-Szymkowicz/lm/R3K2ERA2M01VQ1/ref=cm_lmt_dtpa_f_1_rdssss2/105-7949491-4188433?pf_rd_m=ATVPDKIKX0DER&pf_rd_s=listmania-center&pf_rd_r=17PM0RSTW3X5BGFXZCD2&pf_rd_t=201&pf_rd_p=253462201&pf_rd_i=0822221365

free music from genius Kyle Jarrow and his friend who I don't know

http://www.hoteluniverse.org/krakow.html

insight from Marisa

But writers today may see no benefit in continuing to fail toward success as playwrights when an easy living as a writer on a television series seems within reach. Young writers who win some acclaim for a first or second play will probably continue to head west before they have had time to develop, which means the theater is potentially losing important voices before they mature. -Charles Isherwood I read a fair number of NY Times reviews, and it's no secret to the theatre blogging community that Charles Isherwood isn't, exactly, the most supportive of critical voices in the realm of new plays and new/young playwrights. I can't defend the validity of his criticism first hand (I'm not seeing those productions), but you have to acknowledge the culpability of the NY Times of driving talented young writers into the warm and moneyed embrace of acceptance and a fat paycheck on the other coast.

blog of note from Callie

I’ve come to realize as an artist, my brain is frequently negotiating its way around impulses and ideas that are difficult to articulate, but that there is something gained in the attempt at articulation. And the more I engage publicly in discussions on the big issues, the more I am convinced that a hesitancy to and even lack of skill in contributing to these conversations is one of the main reasons women are not produced more. and But back to women playwrights in general. The hopeful thing is, there is much ground to be gained and so we can steer the discussion. We have reviewers at the New Yorker and the New York Times taking women like Theresa Rebeck to task for writing watered-down Mamet. As a woman audience member, I was struck by the deft way she threw light on the complexities of female family relationships and obligations in caring for elderly parents in MAURITIUS. Rebeck hit such perfect notes of the sacrifice and despair and fear and entitlement and resentment shared by the sisters in the play. Not one male reviewer parsed those issues out of her play.