I'm just back from the TCG Conference in San Diego last week--my fourth ever, and despite (or perhaps because of) the perfectly sunny but cool weather in my beloved, much-missed Southern California, it was a rather discombobulating experience this time out. In part, I think this was because for the first time ever American Theatre staff did our best to cover all the conferences with up-to-the-minute (actually, next-day) online updates, as opposed to writing a big feature for the next available issue (which would be September, when the conference usually already seems years ago). Our updates are here and here, and there are likely to be more to come. We also traded off live-tweeting the whole shebang, which can be quite a hamster wheel. I heard and saw some fascinating things at the conference (some enervating ones, too), and was extremely chuffed to host a breakout session on the theme of new plays and criticism with the LA Times's Charles McNulty, Playwrights Horizons' Tim Sanford, the Goodman Theatre's Tanya Palmer, Theatre @ Boston Court's Jessica Kubzansky, and playwrights Robert O'Hara and Nikkole Salter (whose work together I reviewed very early in my New York career).
I also had a couple of pieces appear in the various publications for which I write, including AT itself:
- A chat with Andy Manley, a peerless British creator/performer of theater for young audiences, whose work I've followed since writing this piece
- A round-up of current Broadway shows, including Of Mice and Men, The Cripple of Inishmaan, Hedwig and the Angry Inch, and Violet
- A review of *mark, a one-man rendition of the Gospel
- A feature on Scott Miller's New Line Theater in St. Louis, which has carved out a small but influential niche as a destination for rock and otherwise alternative musical theater
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