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The Super Bowl: for 50 years itâs been seen as marketingâs biggest stage, where $5 million dollars buys you a…

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Terara, also known to audiences for his role in the London production of Hamilton, is nominated for the best actor prize. He starred in The Meaning Of Zong, his own play broadcast on Radio 3 as part of the Lights Up series featuring plays from theatres that went dark during lockdown. Simon Russell Beale is a finalist in the same category for his portrayal of folk song collector Cecil Sharp, in Folk. Bridget Christie
âLife is a Radio in the Dark,â a radio play by Will Eno starring Toby Jones, recorded in London at the BBC, is a finalist for both Best Original Single Drama, in the BBC Audio Drama Awards, and for the Tinnisswood Award for best original audio drama script.
GNIT -- some thoughts (updated)
I promise that after GNIT closes forever next Sunday (Itâs now closed), I will stop posting about how you should go see it. Over the past 13 or 14 years of working on this adaptation of PEER GYNT,  a grinding but real affection has grown in me for complicated Ibsen and his complicated play. So nothing has pleased me more than to hear that people who really love and know the original play feel that-- with 3 hours and 25 actors removed-- something moving, funny, clear, and actionable has finally been revealed, re-interpreted, or created, in my adaptation. I have only read the first sentence of one review, which described Gnit as "inward-looking," which is really discouraging,  as I spent so many serious years rethinking, reworking, and changing the original-- which is famously and endlessly (maybe even hopelessly) inward-looking-- in an effort to make something that is raucously, honestly, and yearningly OUTWARD LOOKING. The all-caps means I really believe I have done this. I know for sure the beautiful production and cast is OUTWARD LOOKING. The all-caps means I love the cast and production. And I feel the play is looking out for you and I hope you will go see it and I will almost promise that, after next Sunday, I will not mention it again, except in occasional and everlasting thanks to the people and souls who helped it happen and are presently performing it, at www.tfana.org. (Here I am doing that. Thank you! I would not change a second of these last months.) This last week of posts might seem braggadocios, and maybe it has been, but I am also writing this in the most ragged and plain humility. A play that many wonderful people have put and are putting so much time and heart into, and that I think is a kind of a culmination in my thinking about theatre and life, is currently playing to very small houses in a small beautiful theater and will close in one week. Kind of a sad ending to this long post. Please don't go see GNIT in pity. Please go see it in all of your finest and most outgoing curiosity, your Sunday-best vulnerability, and your irrepressible and New Yorky fun-loving-ness. Also, I know we are still in the middle of strange and difficult times and that while everything is probably more meaningful, it is also more logistically difficult. So you might not make it. That's of course okay. Thank you for reading this. Please share it, if you like. I would appreciate that. (November 24, 2021. Thank you for reading. I know itâs not coal-mining, and I am very grateful for my life, but itâs hard to write a play, which by definition, by real definition, is something painstakingly conceived and created and realized that sometimes results in something magical and fleeting that occurs in real time, one time (over and over), in a room filled with the very specific and real people who were there that night, and whose totality is all the words and feelings and thoughts that are in the air and light, and that very specific transaction that occurs between the play and the cast and those real peopleâs feelings and thoughts and understanding and futures. And then a reviewer comes along and throws some words at all that. It has meant the world to me to hear from people who really know and have engaged with Ibsenâs play over the years and who have said they finally understand it and are grateful for Gnitâs outward-looking and loving stance. Or that, having seen many Peer Gynts, with real hope and desire and interest, they no longer need to see another, or, are excited to see another, with their new sympathy and understanding. It is so exciting to write a play. To try to engage with your heart and your mind across decades and centuries with this scraggly, super-spreader art form that is so punished and punishing. To try to get the timelessness of things into something that happens from 8-10 PM. And to try to see and feel and reflect the world you live in right this second. I am so grateful to the perfect cast of living humans and to Oliver and TFANA and to all the people who came to see the play. Thank you for reading all this way. I hope you are having a good day. Eat your greens and get some sun and exercise. Will)
https://twitter.com/6_second.../status/1458927082621313032
https://twitter.com/BenjBrantley/status/1460995402296086530
âWill Eno has unriddled the Sphinx that is Ibsen's "Peer Gynt" -- or at least shown how its concerns about identity remain forever ours. Anyone who enjoys an original mind riffing (often hilariously) on a world classic should see "Gnit," through Sun. at Theater for a New Audience.â
Lauded as one of Americaâs greatest rock bands of the â90s, Pavement returns for a reunion tour that finds them more popular than when they
This is a feature Will wrote in 2010, or thereabouts, on the band Pavement.Â

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A great event at the Concord Museum that I was very happy to be a part ofâ a celebration of the works of Henry David Thoreau. Itâs a really interesting museum.
https://youtu.be/-Ft89c_rffM
Prix Italia for Radio Drama
LIFE IS A RADIO IN THE DARK, a radio play I wrote for fine actor and friend Toby Jones, is on BBC Radio 3, and was broadcast in the fall of 2020. I worked remotely with the cast and producer, over last summer, and it made me miss London and the world a lot. I just discovered the play was on the short list for the Prix Italia, and just discovered we lost. I just had a very exciting, disappointing, but overall exciting 30 seconds.Â
Madrid-based international TV powerhouse The Mediapro Studio has sold banner series âThe Headâ to HBO Max for the U.S. as it powers into English-language production, partnering with John Turturro, âŚ
Many hoops ahead of us but I have been having a great time working with John on this, over the last couple years. Susan Sheehanâs book is an incredible place to start.Â
"Life is a Radio in the Dark,â a radio play featuring Toby Jones, will be broadcast on BBC Radio 3. Sunday November 22 at 7:30 GMT. âThis is the best radio drama I have heard in yearsâ -- Radio Times (UK). Preview below:
If you like conversation, this might be for you.

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More information at www.tfana.orgÂ
Donât expect a traditional A-to-B narrative from this fascinating play, says our theater critic. Instead, âVeepâ and âArrested Developmentâ star Tony Hale bemuses audiâŚ
TONY HALE! The voice and heart of Forky.
NOW PLAYING. I couldn't include a photo for some reason, but I hope you enjoy this breakdown of Day vs Night.
The SKITTLES MUSICAL was Forbesâ #1 Super Bowl ad, even though it wasnât on television. It was a beautiful, strange, life-affirming event seen by only 1493 people, in the theatre, on Super Bowl Sunday.Â
https://www.forbes.com/sites/jessedamiani/2019/02/04/the-10-funniest-super-bowl-commercials-of-2019-ranked/#69df4b075f69
This past year, I saw over 50 productions in the Austin area. As I think back over the year, there are ten experiences that have stuck with me long after the curtain call. This isn't a best of list so much as it is a list of those nights in the theatre that stand out in my memory and the experiences that moved me. While I didn't get to experience everything in Austin this past year (that would flatly be impossible) these are the most memorable of those I did see.

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By Bradley Rohlf Contributing Writer âThe Realistic Joneses,â produced by Rebel and Misfits Productions, is everything aâŚ
One-acts and short plays, especially by established playwrights, arenât showcased enough in central Ohio. Wild Women Writing improves the situation