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-PLAYWRIGHT-
MICHAEL DAVID
All Posts
the rhythm of a great two-hander
Just two actors, no escape hatch, nowhere to hide. It’s theatrical bare-knuckle boxing. Let’s talk about the rhythm — because that’s what makes or breaks it. {more]
Mar 72 min read
interruptions are action, silence is power, breath is truth
Interruptions, silence, breath as punctuation? That’s not just technique — that’s rhythm. That’s where theatre stops being literature and starts being alive. [more]
Mar 62 min read
are play readings the new productions?
There is a notable shift in how theatre companies — from community groups to professional organizations — are thinking about play readings (including staged readings) … but they are not exactly replacing full productions outright. Instead, readings are becoming a bigger and more strategic part of how new work is developed, presented and funded. [more]
Mar 52 min read
when the play ends, the fight begins
You just walked out of the theater. The lights are still too bright. You’re holding the program like it might explain what just happened. Okay. Let’s talk about that conversation. [more]
Mar 42 min read
what makes a monologue actually work?
A stage monologue works when it feels necessary — not decorative, not indulgent, not “look at me act.” Necessary. Let’s break it down. [more]
Mar 32 min read
have standing ovations become meaningless?
Not meaningless. But absolutely … inflated. Here’s what happened. Once upon a time, a standing ovation meant: the audience was stunned; something transcendent just happened; you physically could not remain seated. Now? [more]
Mar 21 min read
in praise of a great actor
Some actors act. Some actors perform. And then there are actors like JD Cullum — who listen. That’s the first thing you notice. He listens onstage the way great jazz musicians listen: fully, dangerously, as if something might actually happen. And because he listens, it does. On his birthday, I thought I would use this opportunity to celebrate one of our great actors. [more]
Mar 12 min read
the secret weapon every killer courtroom drama uses
One room. High stakes. Language as a weapon. People trying not to crack. I love it. The crime is plot. The moral dilemma is drama. Ask yourself: Is justice the same as truth? Does intention matter more than outcome? Can a good person commit an unforgivable act? Is the system fair — or just efficient?
Feb 282 min read
how to sell $20 tickets without it feeling like a $20 show
Ahhh, discounted tickets — the thing every theatre company needs and secretly resents at the same time. Let’s talk about how to handle them without tanking your revenue or your audience’s perception of value. [more]
Feb 272 min read
if you noticed the director, they failed
When people say a director is “invisible” in theatre, they usually mean this: You don’t see the director’s hand; you just experience the play. It’s the opposite of a production where you walk out saying, “Wow, what a bold directorial concept.” Instead, you walk out saying, “That play wrecked me.” [more]
Feb 262 min read
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