William Esper Studio

“Life is meaningless without art.” 
- Karen Finley

“Above all, you must remain open and fresh and alive to any new idea.”
- Laurence Olivier

“The body does not have memory.  It is memory.” 
- Jerzy Grotowski

“In everything, without doubt, truth has the advantage over imitation.”
- Cicero

“The actor must constantly remember that he is on the stage for the sake of the public.”
- Johann Wolfgang von Goethe

“One wishes to know something but the answer is in a form of being more aware – of being open to a richer level of experience.” 
- Peter Brook


Articles

Rose Bruford College of Theatre and Performance - London’s International Drama School

Washington, D.C.'s Studio Theatre

San Francisco Ballet

Grand Ball in the Belle Epoch - Edwardian Period Style Salon Workshop

Keegan Theatre

Pan Asian Repertory Theatre Celebrates its 39th Anniversary

MetroStage Theatre

Swine Palace Theatre

Asolo Repertory Theatre

Ontological-Hysteric Theatre

Amelia Community Theatre

Discovering Lunt & Fontanne

Harlem Repertory Theatre

Santa Fe Playhouse

Opera Colorado

National Hispanic Cultural Center

Red Eagle Soaring Native Youth Theatre

Lorraine Hansberry Theatre

Coatlicue Theater Company

London's Finborough Theatre

New Repertory Theatre in Boston

The Work of Yat Malmgren: Christopher Fettes’ New Book “A Peopled Labyrinth”

Terry Knickerbocker Studio in New York City

 

Ronald Rand in Let It Be Art

 

Santa Fe Playhouse

The Santa Fe Playhouse, led by Artistic Director, Vaughn Irving, is the oldest continuously playing theatre presenting productions west of the Mississippi. Nurturing new generations of theatre-goers, it remains their vision to be the driving force in establishing Santa Fe as a destination for engaging theatre.

Playhouse in the past

American novelist and essayist, Mary Austin, incorporated the Playhouse as the Santa Fe Little Theatre in 1922, to preserve the rich texture of the many diverse peoples that make up the Santa Fe community. The Santa Fe Playhouse has had many transformations through the decades, and eventually the theatre found a permanent place in the 1960’s in an adobe building in the historic Barno de Analco.

Playhouse in the 1960’s

The Santa Fe Playhouse continues to give opportunities to actors, designers and technicians to work and gain experience in the theatre, alongside professionals.

Through their short contest, ‘Benchwarmers,’ and their newly-developed Writers Forum, new and professional writers are able to develop and see their work produced in the community. Their season continues to expand, bringing to their audiences plays in almost every genre.

Season of 2016

Heading The Santa Fe Playhouse, Mr. Irving has worked in professional theatre since 2003. In Santa Fe he has written and produced over fifty productions, including “Disco Jesus and the Apostles of Funk,” and “You or Whatever I Can Get, which have received acclaim at the Capital Fringe in Washington, D.C. He is also a member of the teaching faculty at the National Conservatory of Dramatic Arts.

The Santa Fe Playhouse’s 2016 productions include “The 39 Steps,” Lillian Hellman’s “The Children’s Hour,” the regional premiere of Qui Nguyen’s “She Kills Monsters,” Jason Robert Brown‘s musical “The Last Five Years,” “The Pillowman,” and “The Fiesta Melodrama.” For info: The Santa Fe Playhouse 142 East De Vargas St. Santa Fe, NM, www.Santafeplayhouse.org, Playhouse@santafeplayhouse.org

Road to Rome in the 1930’s


"It is a law of life that man cannot live for himself alone. Extreme individualism is insanity. The world's problems are also our personal problems. Health is achieved through maintaining our personal truth in a balanced relation of love to the rest of the world. No expression is more emblematic of this relation than the creative act which we call art. No art by its very constitution typifies the social nature of that creative act more than the theatre. The theatre, to be fully understood and appreciated, must be seen as a manifestation of this process of interchange between society and the individual. It must be judged as a continuous development of groups of individuals within society, a development which becomes richer, acquires greater force and value as it grows with the society in which it originates. Only in this way can the theatre nourish us.  - Harold Clurman

The Soul of the American Actor Newspaper