The success of "CSI" (8 p.m. Thursday, Wbbm-Ch. 2) has always been a little puzzling. It’s not that the show isn’t well made -- it is. But the idea that so many people would be willing to peer into the heart of darkness once a week has always surprised me. Thursday’s outing is a particularly dark journey, yet it’s also mesmerizing. Bill Irwin is chilly, precise and quietly terrifying as Nathan Haskell, a serial killer who figures prominently in this episode and the next. Thursday’s episode, which is titled “19 Down...,” also introduces Dr. Raymond Langston, the new “CSI” character...
- 12/10/2008
- by Tempo
- The Watcher
The success of "CSI" (8 p.m. Thursday, Wbbm-Ch. 2) has always been a little puzzling. It’s not that the show isn’t well made -- it is. But the idea that so many people would be willing to peer into the heart of darkness once a week has always surprised me. Thursday’s outing is a particularly dark journey, yet it’s also mesmerizing. Bill Irwin is chilly, precise and quietly terrifying as Nathan Haskell, a serial killer who figures prominently in this episode and the next. Thursday’s episode, which is titled “19 Down...,” also introduces Dr. Raymond Langston, the new “CSI” character...
- 12/10/2008
- by Tempo
- The Watcher
There's one thing actors need to know about the Washington, D.C., theatre scene: It doesn't work the same as those of New York and L.A. Here's the way Michael Kyrioglou, communications director for the Woolly Mammoth Theatre Company, puts it: "The D.C. theatre landscape doesn't involve agents or casting directors. Actors all get called in for auditions directly by the casting folks at each theatre or via locally organized cattle call auditions or other Equity-required casting days. The theatres only work with agents if the actors they're considering aren't based in the D.C. area. There are some casting directors...but they mostly are handling TV and film as well as some commercial work, but not theatre." So how do actors considering living in D.C. or just beginning to notice the extraordinary level of theatre production in the nation's capital get in on the action? Representatives of various D.
- 12/2/2008
- by Leonard Jacobs
- backstage.com
"If I am not an actor, if I am not a singer, if I don't do what I teach, who am I?" Carol Fox Prescott recalls asking herself two years ago on her way to see a student perform. Though it was not the most comfortable query the veteran acting coach had ever asked herself, it certainly was an exciting one — inspiring her to explore a new relationship between her teaching and performing. "If I wanted to continue to become a better teacher after all these years, it was time to get back on the stage," says the New York-based Prescott, a theatre actor for close to 40 years who transitioned from performing to teaching in the early 1980s. The result was her one-woman show, Some of These Days: A Jewish Woman's Journey Through Chutzpah, Passion and Pastry With Sophie Tucker. Though she performs the show in venues across the country,...
- 9/11/2008
- by Paul Helou
- backstage.com
There's one thing actors need to know about the Washington, D.C., theatre scene: It doesn't work the same as those of New York and L.A. Here's the way Michael Kyrioglou, communications director for the Woolly Mammoth Theatre Company, puts it: "The D.C. theatre landscape doesn't involve agents or casting directors. Actors all get called in for auditions directly by the casting folks at each theatre or via locally organized cattle call auditions or other Equity-required casting days. The theatres only work with agents if the actors they're considering aren't based in the D.C. area. There are some casting directors…but they mostly are handling TV and film as well as some commercial work, but not theatre."So how do actors considering living in D.C. or just beginning to notice the extraordinary level of theatre production in the nation's capital get in on the action? Representatives of various D.
- 8/21/2008
- by Leonard Jacobs
- backstage.com
"I'm not a Method guy and I don't live Boo 24/7," says Christopher Evan Welch, who is co-starring with Kate Jennings Grant in Roundabout Theatre Company's Off-Broadway revival of Christopher Durang's 1985 play The Marriage of Bette and Boo. "I go in and I do the show — bringing everything I can to it — but when it's over I shake it off, and within a couple of hours I'm doing other things. I don't want to burden others offstage with what I do onstage." Undoubtedly, the 42-year-old veteran actor has his work cut out for him: Boo is a wimpy, alcoholic husband, son, and father who disintegrates emotionally over the course of the surreal play, which is at once madcap comedy and family tragedy. Told in 33 rapid-fire scenes, Bette and Boo explores 30 years of a wretched marriage, a mental breakdown, and stillborn babies. Grant plays the vitriolic, perpetually pregnant Bette; John Glover...
- 7/21/2008
- by Simi Horwitz
- backstage.com
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