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DDD EDITOR'S LETTER FROM ISSUE TWO 'THE BROADWAY ISSUE'

DDD EDITOR'S LETTER FROM ISSUE TWO 'THE BROADWAY ISSUE'

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Published by Maya Contreras
The Dirty Durty Diary is a bi-annual fashion, art, and culture magazine based in NYC with Editor-in-Chief Maya Contreras. @dddmagazine www.dirtydurty.com
The Dirty Durty Diary is a bi-annual fashion, art, and culture magazine based in NYC with Editor-in-Chief Maya Contreras. @dddmagazine www.dirtydurty.com

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Published by: Maya Contreras on Sep 24, 2011
Copyright:Attribution Non-commercial

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01/17/2013

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Like any child born in the ‘70s, I went and saw Star Wars accompanied by my mother. As the voice of James Earl Jones sent shivers down my spine, I looked away from the screen and up at my mother. “I want to do what Princess Leia does when I grow up.” 
(L-R) Jeffrey Wright, Maya Contreras, George C Wolfe, Mos Def.
EDITOR’S
letter
issue two
“You want to rule a galaxy far, far away?” My mother asked smugly.Ignoring her sarcasm, I whispered excitedly “No, I want to be able to say the words she says!”“Oh, you want to
act.
I fell in love with acting on that day, and as soon as I could sound out words in books, I began to read everything I could on the subject—from Stanislavskito Sir Laurence Olivier to Shakespeare. I was in awe of the world created by words that spun my imagination into another reality of storytelling and action.I wanted to learn how Carol Burnett knew how long to hold for a laugh, or how many hours of rehearsal it took before Ann Reinking became a triplethreat. As I immersed myself in this craft: learning lighting, sound, and set design, knowing the difference between upstage and downstage, or why you should never say “Macbeth” in a theater, one thing consistently stayed true—my love for theater was unshakeable. It didn’t matter if I was in a
sound booth calling cues or stage right waiting to say my rst line, theater is, and will always be, my rst love. Which brings me to this issue and the
inspiration behind it.
Live performance is like no other. There are no second takes, and in that way, the theater is a lot like life, you only get one shot at it. With its mixture
of philosophy, psychology, with the ability to teach tolerance by experiencing (the best you can) what it is like to be in someone else’s shoes, to see lifefrom that character’s eyes—theater to me was always the great equalizer; especially when folks like Joseph Papp came in and introduced ‘color blind
gender blind casting’. When casting 
Hamlet 
he didn’t care if you were a black woman or a white male, whoever could bring it got the part.However, I found myself concerned this year when people like Richard Chamberlain and Ramin Setoodeh (formally of 
 Newsweek
, now at
People 
 )discussed limitations of believability for openly gay actors, or why one should ‘resist coming out of the closet’ due to the fact that roles will dry up if the audience is aware of a performer’s sexual orientation.I found the comments disheartening to say the least, and it’s what inspired the ‘Playing it Straight’ article in this issue.If there are those that need to label me, I will let them know that I am a half-black, half-Latin, bi-sexual woman. So does that mean I am only 
supposed to be cast in roles dened by those labels? Absolutely not. Do I wish there were more roles that are powerful, thought-provoking, less
stereotypical and more inclusive of black, Latin, gay, lesbian and bi-sexual experiences? A resounding YES! That is why I am encouraged by the brilliant people that are in these pages, who are some of the most thoughtful, talented, and pioneering performers,directors, producers, and writers around. They continue to write, produce, direct and perform material that is stimulating and challenging in a time that
is obsessed with the distraction of reality television. These individuals remind us to WAKE UP and remember what the human experience is supposed
to be about.Perhaps the most important aspect in theater that I learned was that it was a home away from home—and that it is truly one big family. I loved
getting to experience watching Denis O’ Hare and Sandra Bernhard become fast friends, and Alan Cumming liven the room with his magnetism andenergy. Jeffrey Wright impressed me with his seriousness and his professionalism, and George C. Wolfe’s commanding presence is lightened only by the charisma and charm he exudes. Everyone from David Cromer to Anthony Rapp were utterly delightful and reminded of the closeness I felt years
ago when I was around performers on a daily basis.I want to thank everyone once again for all their help with this issue; Clare Smythe-Lee for her beautiful art direction, Andrew Boyle for curating the photographers, Ellen Moynihan for being such a brilliant (and cool) Associate Editor, JJ Maxwell, Lynn Furge, and Justin Min for the exquisite
sense of Fashion they bring, my Editor-at-Large for this issue, Paul Oakley Stovall, who (along with Earl Dax) brought so many wonderful people
into these pages. Lastly I want to thank Bobby Crace, the love of my life, for helping me with everything from car transportation, late-night editing,catering, and duct-taping my sanity together when it was falling apart.I hope you all enjoy “The Broadway Issue.” Thank you,Maya Contreras
Editor-In-Chief 
266
the 
ddd : spring
 
2011

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