Comments

1
Hugh Grant made "Love, Actually." So he should know all about torturing audiences.
2
Brendan, it's important to note that that data is from TCG member groups only, and not an accurate sample of the plays being produced around the country at all the various theaters.

How many of the houses in Seattle are TCG members? Only a few I'd wager. I'm pretty sure Annex, WET and Balagan aren't. Same sort of skewing would be true in theatre cities across the country.
3
Paul, while you are correct that none of those theaters are TCG members, there are more than a few Washington companies represented through TCG: Harlequin, SCT, Book-It, Wing-It, Seattle Rep, Freehold, Intiman, Seattle Public, ACT and Taproot. That's still only what, 15% of theater produced in Seattle? So I would agree that the results should not be used for anything but entertainment value.
4
I love Paul Mullin's work, but it seems to me he should do a little bit more research before suggesting that Kate Whoriskey would bring "more of the same" kind of theatre Bart has been creating in this city. Both are great directors, but Kate Whoriskey and Bart Sher are very different in their experience, philosophy, and style. Look at their resumes: Bart is a classics director - Shakespeare and musicals. Kate is largely known for her contemporary work - Cho and Nottage. Beyond that, Kate's public mission of diversification in the theatre community - on and off stage - coupled with her passion for issue and awareness-raising plays will be a fresh and stark change for most audience members, and an overdue change in this city.
5
of course...out of those top 10 plays, how many could be considered a "successful" run (just because they were the most produced doesn't mean they made cash).
6
Though I have no evidence or enough background to even begin to research it, I wonder if there's something else driving those numbers like distribution channels or production costs that might explain how newish, single-word titled plays make it through the TCG.
7
@ 3. Maybe 15% of the total theaters, but what percentage of the audience?

I wish I knew the exact number, but I'm guessing it's a hell of a lot more than 15%. Intiman and the Odd Duck do not weigh the same.
8
Paul is correct in that TPS' first annual awards (not including the Greg Falls Award which has been presented for the past dozen years or so) didn't include a category for playwrights. However, it should be noted this first go-round was intentionally kept limited in scope, primarily as a means of "testing the concept". Now that TPS has some reasonable assurance the theatre community will support such an annual event, it's my understanding that the number of categories will be expanded accordingly. And one would certainly expect playwrights to be included in that larger recognition.
9
Chris, as our old friend Bill Salyers likes to say: "From your mouth to God's ears." And I as like to say, "We'll be watching."

Josh, one huge factor to consider is that most of those plays have very small cast sizes.
10
I would just like to take this moment to say that I would pay money to see a production in which Hugh Grant dies in a fire.

He could do Pippin and this time take the Player's advice.

Please wait...

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