‘The Theatre no doubt stank on warm days. Standing room cost a penny, gallery space two pennies, and 'quiet standing' three. As open-air performances, the penny-audiences were at the mercy of the elements; rain, sleet, or sunshine beat down with equal fervor on the bare necks of those standing in the yard, unshielded by any sort of roof’
Professor Eric Rasmussen and Ian DeJong explore Elizabethan playhouses.
The Washington Post leads with the latest he said, she said from the campaign trail as the candidates campaigned furiously before the critical Tuesday primaries in Indiana and North Carolina. The Wall Street Journal leads its world-wide newsbox with a look at how Sen. Barack Obama has gone back to addressing voters in a more intimate setting. Even though the large rallies draw lots of people, they don't necessarily help him gain new voters and Obama's campaign now sees the arena-style events as one of the main reasons why he lost the popular vote in Texas.
Mr. Foote spent two years studying acting at the Pasadena Playhouse in California, then went to New York to become a Broadway star. He continued his studies there with Tamara Daykarhanova, a Russian émigré, and joined Mary Hunter’s American Actors Company. While rehearsing a production of one-acts, Ms. Hunter had her cast perform improvisations based on life in the actors’ hometowns. After Mr. Foote performed his, Agnes De Mille, who was doing choreography for another show, asked Mr. Foote if he had ever considered writing.
“No,” he replied. “What on earth would I write about?”
Ms. DeMille, who became a lifelong friend, gave Mr. Foote the age-old advice to every beginning playwright. “Write what you know about,” she said.
émigré, emigré [C]
someone who has had to leave their country permanently, usually for political reasons
A one act play, or more commonly in the US "one act", or "one-act", is a play that takes place in one
adjective [before noun] LITERARY
an age-old story of love and betrayal
arena theater ＝theater-in-the-round.
Arena‐Style Theatre (Theatre‐in‐the‐Round). Although some hailed the proliferation after World War II of arena‐style playhouses, in which audiences surround the stage, as a revolutionary departure, others saw it as the extension of the more open, thrust‐stage playhouses that had characterized many Elizabethan and Jacobean theatres before the proscenium‐style auditoriums took over at the time of the Restoration.