I hope to have a response to this up tomorrow, but in lieu of a response, let me just say that I think Scott's evaluation of off-off-broadway is based entirely on stereotype rather than recent real experince. I say this because it is an opinion of OOB work that I find myself sharing.. during periods when I haven't seen an OOB show in awhile. I think the indie theater scene in new york is quite innovative, amazingly effecient ecoomically, and often artistically and intellectually vibrant. And while I think constructive criticism is important, it serves no one's interests (and certainly not the art form) to denegrate people in another state who are working their asses off at, essentially, two full time jobs (one unpaid) trying to create the very innovations that are longed for.
More, hopefully from a more constructive and less angry place... tomorrow. After all, as I said, there is much about Scott's post that I actually find myself agreeing with, or tempted to agree with. I want to wrestle with the whole thing. But I do feel a need to defend myself, my friends, my coworkers from uninformed grandstanding like this:
Meanwhile, over in the NYC OOB movement that started 30 years ago, we have come to define radicalism as being the power to yell fuck (or just to fuck) in an empty theatre. Well, hell, the Greeks were doing the first 2500 years ago, and the Romans did the second 2000 years ago. I refuse to get all excited about ideas that are two millenia old.
And since I know several people in the field read this blog... including a couple of reviewers who see a lot of indie theater. Please feel free to talk about the people you find vibrant, innovative etc. in the comments.