A lot of virtual ink has been spilled about the Guthrie and their season. Why anyone cares I don’t know. I guess that’s sacrilege but so what? The Guthrie’s an old theater with a lot of money. Is that why I should care? Not to be a d*** but I’m just not sure why I should care- and I’m not even being negative. I feel like when I would watch the Mets play and throw shit at the TV and my mom would say “why are you upset about Mo Vaughn? Mo Vaughn doesn’t care about you.”
And she was right. I haven’t watched sports the same since. Dowling doesn’t care about you. Maybe not even about an American theatrical legacy. But he’s not the only one. We’re at such an exciting moment theatrically. But waste our time writing about the Guthrie because, what? Teachers we once had told us it was important?
You should just say it once out loud. Guthrie I don’t care about you. It feels great. You can actually sub in any numbers of theater there. Trust me. It feels fantastic. Tell your friends. Go to dinner at your grandparents and say ” I don’t care about the Guthrie. Or any other bloated theater company grandma. I really don’t.”
I think a few years ago Isaac at Parabasis had some long post about how theater companies should say they’re like punk bands or whatever. I can’t really remember it. But Theaters would learn a lot more if they look at how the music industry changed and they should steal. Some of us already are. Back when I was in college there was a guy named Puffy. He was on a big Guthrie-esque record label and people thought what he was doing success so they wanted shiny suits and fish lens videos. But there were some kids in NY who said- this is idiotic. This is not art. They started Rawkus. Out West they started Solesides. In the Midwest Rhymesayers opened.
Basically, some dope motherfuckers opened their own labels in their town. Where they wanted to live and just said this shit is live. And we’re at that moment. Fuck the Capitol Records of the Theater World. Less ink for Guthrie or any of the other mega theaters that have like six lit managers and don’t do a single new play. Less ink for them and more for the ones tearing it up. The Available Lights, The Rubber Rep’s, the Tricklock’s (look it up), the Double Edge’s (respect the lineage) and so many more.
You make art or you make commerce. But thinking a specific marquee makes you a voice or necessity is just boring. And old. So many playwrights are trained, just as directors and actors, to think this is the only legitimate way to have a career. And we actively buy into it.
It’s basically just lame.
Go bump some Celph Titled and stop writing about stuff that doesn’t really matter.