tag:blogger.com,1999:blog-5797035092645713329.post4475692839807715723..comments2024-03-14T02:43:01.811-05:00Comments on Broadway & Me: The Shame of "The Columbine Project"jan@broadwayandmehttp://www.blogger.com/profile/05871839027802882307noreply@blogger.comBlogger9125tag:blogger.com,1999:blog-5797035092645713329.post-58361322278435663212009-10-03T04:29:25.429-05:002009-10-03T04:29:25.429-05:00HORRIBLE!!!!! BAD SHOW!!!HORRIBLE!!!!! BAD SHOW!!!Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-5797035092645713329.post-31517645610107413212009-09-05T07:03:07.702-05:002009-09-05T07:03:07.702-05:00and there you have it. this person knows nothing o...and there you have it. this person knows nothing of his work.<br />"Pocketbooks"? Okay.Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-5797035092645713329.post-53473251281817697482009-09-05T02:35:00.743-05:002009-09-05T02:35:00.743-05:00A hateful actor??? Give me a break. One night stan...A hateful actor??? Give me a break. One night stands-- sucks! pocket books-- SUCK! COLUMBINE.... well the NY critics are speaking! SUCKS!!!!Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-5797035092645713329.post-26688403295212801372009-08-27T03:51:03.374-05:002009-08-27T03:51:03.374-05:00What have you seen of his?
Prove your not just a h...What have you seen of his?<br />Prove your not just a hateful actor?<br />tell us your experience?Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-5797035092645713329.post-36736668221794629582009-08-26T14:31:12.173-05:002009-08-26T14:31:12.173-05:00The only thing Paul Anthony Storiale is good at is...The only thing Paul Anthony Storiale is good at is hyping himself and his productions. I'm from LA, never saw anything even remotely good from him. But he makes everything he does sound awesome. If you go to his official Columbine Project site, you can see that he quoted a bad review to sound like a good review (NY Post). The only reason this play did well is the subject matter and his relentless PR.Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-5797035092645713329.post-15502651188731235762009-08-24T16:04:17.875-05:002009-08-24T16:04:17.875-05:00you did not pay attention.
besides the staging and...you did not pay attention.<br />besides the staging and the set comments, speaking of moises kaufman's play has nothing to do with that show. if you had listened you would have been able to report that title was words they used.Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-5797035092645713329.post-51656603517756726772009-08-19T11:59:15.123-05:002009-08-19T11:59:15.123-05:00The show was just not good. Your'e right Jan, ...The show was just not good. Your'e right Jan, I was in shock myself with the staging, acting, writing. Nothing creative at all. A waste of money.Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-5797035092645713329.post-15221220223677313482009-08-19T09:43:35.878-05:002009-08-19T09:43:35.878-05:00Anonymous, thanks for your thoughtful response. I...Anonymous, thanks for your thoughtful response. I, as you seem to be, am a fan of the work that Kaufman and Deveare Smith have done. I already have tickets to her new show, Let Me Down Easy, which will be at Second Stage this fall, and I'm hoping to get into the New York reading of the updated Laramie Project too. I've also enjoyed some of Chuck Mee's work, which also uses news reports and other similar sources. I don't object to the practice of appropriating words from other sources but that, of course, isn't all these artists do. They don't simply reiterate the facts we already know but try to help us see and make sense of the world through the events they chronicle. They find a way, as I say in the piece, to turn "tragedy into art." And The Columbine Project fell far short of that. As I said, I don't enjoy knocking a small show and I don't want to discourage young artists but I do think it's important to urge anyone who wants to explore this kind of storytelling to be far more rigorous than the creators of this play have been. Thanks again for taking the time to comment and for helping me to refine the point I hoped to get across. janjan@broadwayandmehttps://www.blogger.com/profile/05871839027802882307noreply@blogger.comtag:blogger.com,1999:blog-5797035092645713329.post-33583584009848752632009-08-19T09:03:36.645-05:002009-08-19T09:03:36.645-05:00When you speak of "compiled scripts" as ...When you speak of "compiled scripts" as being written by those who feel "all they need to do is find a calamity, patch together excerpts from news reports about the event and slap the word 'Project' in their title" it seems you seek to invalidate the work of Anna Deveare Smith and Moises Kaufman, just to name two successful artists who use this form. Your wording is vague, so perhaps you don't mean to smear the entire form and I did not see the Amish Project, so I'm not certain if that show used interviews with actual participants in the event as text. If we hold to an Aristotelian only view of drama, then where do we put Smith, Kaufman, or even, Maria Irene Fornes or Joseph Chaikin? Theatre is too vast in this era to be held in one single lofty "O."Anonymousnoreply@blogger.com