Showing posts with label The New New News. Show all posts
Showing posts with label The New New News. Show all posts

Tuesday, February 8, 2011

Maurice Clemmons is in the Air


Over the last 48 hours on-line news sources have exploded with fresh stories about Maurice Clemmons, the prematurely released Arkansas felon who, on the Sunday after Thanksgiving, 2009, walked into a coffee shop outside Tacoma, Washington and murdered four Lakewood Police officers as they drank their morning coffee. Clemmons then led law enforcement on a two-day wild goose chase throughout Western Washington before being shot dead in Seattle by a lone cop. In those two days it became clear that local journalism would never be the same, not in Seattle, not anywhere.

It is this very urgent transition which we cover in our latest production The New New News: A Living Newspaper, investigating the on-line reportage of the Clemmons Manhunt in a section we call “#WAshooting” after the Twitter hashtag used to track tweets concerning the ongoing chase. We are fairly certain that our upcoming opening, (Friday, February 18) has exactly nothing to do with the recent rash of articles about Clemmons, but we welcome the renewed interest in the case nonetheless, and not just because it might cause the curious to check out our show. The story of Maurice Clemmons will not go away, nor should it, because its implications affect the future of Western Washington, US national politics and the nature of journalism across the globe.

Certainly the once-and-possibly-future presidential candidate Mike Huckabee is hoping we forget about Clemmons. While Governor of Arkansas, Huckabee granted clemency to the 8-time felon, who otherwise would have been incarcerated until 2015, in part because Clemmons claimed in his application that he came from “a very good Christian family.” (One need not wonder what Huckabee’s decision would have been if instead “Muslim” had been the adjective modifying the subject of that clause.)

Likewise, it is not hard to trace a deterioration of relations between Western Washington police and the communities they serve since Clemmons’ murderous rampage. Had Maurice never left his Arkansas prison would Seattle Police Officer Ian Burk have given Native American wood-carver, John T. Williams, more than four seconds to put down his carving knife before shooting him dead?

We will never know the answer to that, but we do know with certainty that active crime investigations will never be covered the same anywhere in the future. From now on, journalists, law enforcement, regular citizens, and yes, even criminals, will all be privy to instant information, some of it deeply flawed or downright false, as it emerges on Twitter or whatever tool we will be using to share data. We examine this fundamental shift in The New New News. I could tell you how, but really, I’d rather show you. The first copy drops on West Seattle’s doorstep a week from Friday. Why not order your “subscription” now?



Cross-posted at Just Wrought

Thursday, January 20, 2011

Rehearsal Notes on a Thursday Night

Slipped into rehearsal tonight. This is the real, best privilege of the producer.

Mark Fullerton and Robert Agostinelli are working a scene. And it is hitting the trifecta – interesting ideas, funny moments and emotional notes well played.

There’s a moment when one character admits the vulnerability of potential obsolescence, something we all in some way fear, that our lives, our vocations, will lose meaning. Found myself touched by a moment I had already read numerous times.

Gotta love actors. (But don’t tell them – it’ll go to their head.)

More of them are arriving now, and I’m going to sit in for a while longer. Listen to Dawson Nichols giving script notes. Watch the next scene unfold. Need to soak up the energy of theatre in the productive moment.

Because, I’ll be honest (and any theatre practitioner that disagrees is being dishonest), producing a play is a difficult, strenuous, exhausting process. Producers and playwrights bicker. Actors put in long hours being hectored by directors. Every single one of us questions our participation in the process at least once.

And, damnit, it is totally worth it. This is just the best way to tell a story.

And we’ve got a damn good story here.

Monday, October 25, 2010

Reporting on the inside from the outside in

I got my first real look at The New New News last night. I’ve been part of the high-level talks on the project, which was inevitable given my penchant for pontificating on media issues anyway, but have had to step back from the script meetings and workshop as producer duties (read: all the paperwork Paul and Dawson hate to deal with and hired me for) have demanded my time.

So, when I sat down for last night’s reading having caught only the last five minutes of rehearsal and a few minutes of director notes, I felt very much like I was looking at this from the outside. A well-informed witness to a moment deep inside the development process, but on the outside nonetheless.

And, as I told Paul and Dawson afterwards, I was at times more compelled than I thought I would be, and at times more detached and outside the narrative than I thought I would be. Which is really perfect for this stage. All the potential is there, and we’re at the right stage to trim away anything that is preventing that potential from reaching actuality.

A brief and purposely obtuse collections of my notes from last night: found Pete the most engaging – he’s the noble “should”; Art’s guru misadvice = SEO; desire for Robot Chicken static jump-cuts disturbing; [name redacted]’s transformation is beautiful and perfect and the arc to which all other character arcs should aspire; not sure Paul has his numbers right; sometimes yet-to-be-written scenes should stay that way; Terence McKenna on X, nitrous and 72 hours of Powerpuff Girls (I think this had more to do with what I wanted to see than what I saw); failure doesn’t die to live another day.

The clearest thought I walked away with, though, was that this form, the Living Newspaper, has a place in the present day and the present conversation. Theatre and journalism are struggling and failing in such similar ways, it seems natural they might find similar solutions, and I’m putting my money on local.

Special thanks to all the actors that spent their weekend working on this piece – you did an amazing job and we can’t sufficiently show our appreciation for you volunteering your time. Thank you Holly Arsenault, Noah Benezra, John Bogar, Betty Campbell, Becky Chong, David Gehrman, Stephen Hando, Amy Love and John Q. Smith.