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January 20, 2010


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Yeah, this shit is so ridiculous, and the disease is everywhere.

I recently saw a little scuffle play out with the press where they wanted to do a big article about a play I was working on, but when they found out the theatre (not mine) was calling it a World Premiere and it really wasn't, they said, "Forget it." The thing is, I don't know what turned them off, was it the fact that it wasn't a world premiere (and so they thought it was uninteresting to their readers) or was it the fact that the theatre was being complicit in this on-going deception? I hope it was the second, but I'm not sure.

It happens all the time though, we always get asked by journalists ..."Can we call it some kind of premiere?" And that's a direct quote.

I honestly don't think audiences care. Especially in the midwest, I mean, I bet something like 75% of the shows that get produced in cities like Columbus, Indianapolis, Iowa City, etc. are premieres. So what differences does it make? Maybe if we're doing the World Premiere of a Tony Kushner play or something ...

Duncan Pflaster

I agree that the idea of a premiere is all for the possibility of making the show an "event" that might draw press for it.


The more marginal theater becomes, the more a premiere is important. The less the art form matters, the more it is essential that there is some heat attached to the event, for fear that otherwise NO ONE WILL GIVE A DAMN.

Pete Miller

I happened to read The Two Noble Kinsmen the same weekend I read Outrageous Fortune. The first 8 lines of the prologue are a sexual metaphor about premiere-itis.

An URL for those who would know:


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