The final installment of my blog series on last year’s [a different] Romeo & Juliet is now live. Read it here. 

There are some fightin’ words:

We did not publicize this show to the locals because we anticipated blowback, and we felt that would be unfair to the students, who already had to decide whether to “out” the play to relatives. Would my (progressive Austin) community have come if we’d drawn criticism? I’ve seen bad plays get awards because they pissed off conservatives. Why is the liberal impulse only to show up where conservatives have started fires?

Worse, was this turnout because theatre performed by teens is not seen as legitimate, or interesting art? How can I prove to you that theatre made by teens can be amazing if you don’t give it the chance?

I wrote this article before conservatives started to attack The Public for their depiction of a Trump-like Julius Ceasar. And, despite my antipathy toward Bardolatry, and my own desire for Theatreworld to take a break from producing Shakespeare for year or two, I’m glad that we’re rallying to the defense of The Public.


Spent the last week visiting the land of fairy tales and food, revising The Twelve Huntsmen. It’s a massive play, a huge feat to produce, and the kind that needs proof-of-concept (and collaboration) for its first full production.

Much more info will be forthcoming, but I will say that the details are coming together for the JAW Festival.  


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