Tuesday, January 5, 2016

Why I'm back on kickstarter (Paul Auster's City of Glass)


So, here I am, back on kickstarter for a fourth time

In many ways, I hate being here. I hate being here because, by necessity, any stint on kickstarter involves the mild harassment of friends and colleagues, most of whom themselves have limited resources, asking them to devote some small part of those resources to your campaign so you can devote resources to their campaign so that they can...and round and round it goes.

I also hate being here because of the time and energy it takes, time and energy that I really should be putting into the massive job of directing and writing and producing, not to mention the side efforts of grant writing, publicity, etc.

But, nonetheless, I am back. Here’s why:

1. We need money. We always need money, it’s true, but this year our NYSCA grant got held or (or cancelled) because one field on it did not, apparently, save, when it was submitted. There is an appeal in progress, but it will take a year.

2. This is an expensive show. One reason: It involves video, and unlike previous shows at 3LD where the video resources are massive, The New Ohio (wonderful in many other ways) does not have a huge video inventory.

3. Kickstarter attracts the attention of people who would never know about our show otherwise. At least a third of our donors to our previous campaigns were strangers who learned about our project via the kickstarter. A Paul Auster adaptation seems a likely candidate to draw similar interest.

4. Most of the contributions to the kickstarter campaign are NOT ACTUALLY DONATIONS, BUT A WAY TO BUY TICKETS AT A DISCOUNT. A very important point to me, that tempers my guilt when asking for contributions. Because honestly, I’m going to be harassing everyone to buy tickets eventually, the process is just starting a bit early. The discount isn’t big, it just takes away about $5 in fees, but it’s cheaper than buy via our ticket service and helps us by getting us money early, and also fills the theater during the oh so important first two weeks of the show.

5. It helps spread the word about the show early. Half the trick to filling theater is creating buzz…we have a few cool videos, and this helps us let people know about the show. Which will be very, very cool, and very, very worth the money.


Which is all to say: Here’s our kickstarter. Contribute to it and get a discount ticket to the show. For all that I hate the promotion, I’m pretty proud and excited about what we’re creating. I am acutely aware that no project we have ever done could have been achieved without the donors and ticket buyers who made it possible. My last project, Money Lab, was created with the premise that art has a value, something our supporters have proven they believe many times over. Let’s prove it again.

Monday, June 15, 2015

Paying for it: Bitter Lemons, Kirkus, and the purchased review


Let me start with a thought experiment. Suppose that The New York Times instituted a new policy. Suppose they charged theaters $1000 per review—but guaranteed a review in return, that would be printed online. Furthermore, if it was an Editor’s Choice, it would also appear in print.

Obviously, the first reaction to the policy would be outrage, on the part of theaters, on the part of critics. But what would the practical implications of such a policy be? I can only speculate, but I suspect far more theater would be covered. Much of it would be bad, or boring. There would be more reviewers employed. And, here is the thing—a few shows, maybe more than a few, that would never see the light of day in our current system, would receive some attention. Maybe some writers or directors or actors or designers would find themselves employed, who would not be employed. Artists that might be otherwise invisible might be seen.

True, there would be a financial barrier to those who want a review, but to be honest, there is already a financial barrier. Most theaters that get reviewed in The New York Times pay for a publicist, and they pay much more than $1000. And most shows that are reviewed tend to have larger budgets. Not all of them, not mine certainly, but most.

It would be hard for me. I do my own publicity, usually, because I can’t afford a publicist. And the very fact that I am often reviewed in the The New York Times is something I am proud of. It would make my position less special. And there might be a lingering doubt, even with a good review—was this show well reviewed because of merit, or because money was involved.

Of course, nobody at the The New York Times is about to adopt this policy. Their financial situation may be precarious, but it is not so dire that they are about to throw away years of tradition. But a crisis exists in reviewing, partly because of the financial crises that most print publications are experiencing. There has always been a glut of product compared to the number of established reviewers available. That imbalance has only grown exponentially, becoming a systematic problem with no easy solutions.

This is not a crisis just for artists, but for art. Because the worst thing that can happen to an artist is not to receive a bad review. The worst thing is receiving no review at all. The worst is having one’s work be invisible. And yet more and more work is invisible. And the more work that is invisible, the less we are able to find artists whose work does not fit the existing conventions or expectations. The more the status quo simply perpetuates itself.

Bitter Lemons, a Los Angeles website, has introduced a new policy, similar in some ways to my thought experiment. You can purchase a review from them for $150. It will be, they assert, an unbiased review, written by professionals, with no guarantee of an endorsement.

This is not a new idea, in the world of book reviews. Kirkus provides a similar service, for books. For $425, they will review your book, with the same professional reviewers they use for major releases. However, as anyone who had had a book published by a small press knows (or self-published), Kirkus overlooks the great majority of books.

I know the significance of those reviews first hand. I have had two books published by Hungry Tiger Press, a small press. The first was reviewed by School Library Journal and Booklist. Both were nice write ups, and as a result the book (Paradox in Oz) is now on its fourth printing, with copies in libraries across the country and across the world.

By the time the second came out (The Living House of Oz), the world had changed. Self-publishing was more common, and as a result, I believe, a small presses like Hungry Tiger were overlooked. No one chose to review the book. Copies barely appeared in libraries, and the Hungry Tiger never sold out the first printing. Why? No one official had endorsed it. The same writer (me), the same illustrator (Eric Shanower), and the same quality of book. I actually prefer it, though Paradox has definitely become a favorite among Oz fans. However, it was at least equally worthy of review. But the timing, the other books in the queue, etc, prevented it from seeing the light of day.

Is purchasing a Kirkus review a cure for that? Unfortunately not. If it were, I might be endorsing Bitter Lemon’s decision full-throatedly, quite frankly. I will admit something. When I published The Golem, Methuselah, and Shylock, via Theater 61 Press (the publishing branch of the theater company), I knew no library journal would review it. Books of plays are almost never reviewed, and such a small press as our own was not going to break through. And yet I knew the value of ending up on a library shelf. So I paid ($350 at the time). The result was a mixed review. Not a rave, but if it has appeared among the normal Kirkus reviews, it would have resulted in a number of library sales. But—more importantly, the review was labeled clearly, to distinguish it from their other reviews. So almost no one read it.

Was it an unbiased review? I believe so. I understand the arguments about the slippery slope of getting paid by the people receiving the review. But frankly, no one would be served by purchasing a biased review. And yes, Kirkus gives an option: if you don’t like their review, they won’t print it. So one is unlikely to see an out and out pan among what they call their “Indie” reviews.

But the practice also feels exploitative. Not because they are excepting money for reviews, but because they separate those reviews from the reviews the write without being paid to do so. They say they are maintaining their journalistic standards by separating out their purchased reviews from those books they voluntarily choose to review. Perhaps. But in so doing they are also taking money from desperate artists, caught in the system. And not giving much in return.

This brings me to Bitter Lemons. Unlike Kirkus, they don’t have paid/unpaid wall. On the other hand, they don’t need one: all the reviews will be paid for. And though they have a certain following in Los Angeles, they do not have cache of the major print publications. Paying for a review in The New York Times—or The Los Angeles Times—is one thing. But from a well respected blog? That gets into much more iffy territory.

And of course it comes with a stigma: you paid for it. You are not worthy of a regular review. If you were worthy, reviewers would be reviewing you for free. They would rush to see your show and put words in print, because they would sense the importance of the work. They would have heard from…someone.

This is of course bullshit. Plenty of worthy work goes unseen. But still, it is a mantra fervently believed, especially among many critics. There is a true blindness that many critics have to their own blindness that I find disturbing.

But my own critique about Bitter Lemons new policy is not that it is inherently immoral, or a breach of journalistic ethics. To call it biased is to ignore the accepted biases in reviewers, pre-existing slants mostly based on reputation, or a taste for one type of art over another, or one set of ideas over another, or perhaps one gender over another. If anything, I suspect the Bitter Lemons reviewer will have that same doubt most hold lingering in the back of his or her mind: why did this artist have to pay for it?

Does self-interest pay a part in their decision? I cannot know what lies in their heart, but I suspect it plays a part, as it does in us all. But I don’t particularly care. What I do care about is whether this is a model that can break through the barrier for those whose work is rendered invisible. This I doubt. Ironically, if it were, their business model would be an ineffective one. Because in order for it to be effective it would have to adopted by every large publication as well. And then: $150 for a single blog review when I can get a reviewer down from the LA Times for just $800? Who wants to shell out on the little stuff?

But if the Bitter Lemons policy inspires people to reexamine the reviewing model we have, just a little bit, I welcome it. Sadly, all I have seen are angry denouncements. Which is an easy way to avoid the real problems in the system as it stands.

Funny thing, after all this time, one of my picture books, Fractions in Disguise, was recently reviewed by Kirkus. It was published by a mid size publisher, Charlesbridge, which is now associated with a very large publisher, Random House. It was a starred review, a rare honor. If I had paid for that review, nobody would have seen it, even starred. But because I was associated with a larger publisher, everybody saw it.

You can find it now at a library near you.

Tuesday, March 10, 2015

Artistic Director's Note for Money Lab - 2015


Mad Jenny and Maris Dessena
in Love und Greed in Money Lab
I wrote a related note for the 2013 workshop. This one is updated for the 2015 edition of Money Lab, at HERE:

I was taking a cab the other day, and my cab driver asked me if I had any good ideas to help the world. He was collecting.

I work in theater, I said, so all my ideas are about theater. But I do think art can help the world.

He scoffed. If you were starving, he asked, what would you like? Food? Or a flower?

Recently, I said, I’ve been doing a lot of work with theater and music created in the Terezin concentration camp. What’s amazing to me, is how vital that work was to them. How, despite the starvation, the terrible conditions, and the specter of death, they still needed to create. Or maybe they needed to create because of all that.

A distraction, he replied. They would have traded it all for a good meal.

Maybe.

In the United States, often the money associated with a profession tells you something about the way its valued. If you look at a list of college majors and money prospects, theater lies at the bottom. For our workshop of Money Lab, I did a survey of our audience members. I found that the artists made, on average, $24,000/year less (self identified part-time artists) to $45,000/year less (self-identified full-time artists) to comparable New Yorkers with similar demographics, matching education, age, borough, etc. Our non-artists made about $13,000/year more than the New York City averages.

I did not make a conscious choice to give up $45,000/year to become an artist. But I am willing to accept the choice. Because for me, art is a necessity. I am not starving, so I don’t have to confront the food or flower question. Like most artists I know, I live in a constant state of anxiety about money. Nonetheless, I would find the alternative worse.

And yet, the other question I am curious to understand is how much do we really value art. Why is it so difficult for artists to be paid? Here we are paying all our performers the same amount. $50/performance. It’s not much. But it’s what we can afford. Honestly, it’s more than we can afford, but it’s important to us.

Why is money for art so scarce? Why is the income inequality among artists even greater than the income equality among the general populace? Why do a few get so much and the rest so little? I doubt we will answer those questions in the course of this show. But what we will explore is how our audience values art vs. what are generally called the necessities. Food, or flowers?

Watch the values go up and down. We’re in a theater, so the odds are already skewed in the artists favor. So we shall see…



Wednesday, December 3, 2014

Finding Text: Writing the Libretto for the Velvet Oratorio


 A note about my process of using found text in The Velvet Oratorio:


Anna Marie Sell (Aide) and
Andrea Gallo (Shirley Temple Black)
The first thing I knew when beginning this project was that I needed to do a lot of research. I knew a fair amount about Czechoslovakia and The Velvet Revolution, because I had done some research before putting together the Havel Festival in 2006, but I wanted more. I wanted to know what it felt like to be in Czechoslovakia in 1989.

I started interviewing Czechs and Slovaks who had been there, and simultaneously I started researching newspaper accounts from the time. One thing became quickly clear: many or most people attending the November 17 march did not suspect they would be participating in an event of great political significance at all. Other demonstrations had had little effect. Why would this one be different?

One reason was the fall of the Berlin Wall, and the changes in the Soviet Union. But of course the speed of the collapse of Communism in Czechoslovakia was something of an illusion. There had been a growing amount of pressure year by year, since the tanks invaded in 1968. Like a floor that suddenly collapses after years of seeming stability, the stress had been almost invisible, until one day the whole thing gave way.

For the found text, I used newspaper reports, especially those in the New York Times, The Washington Post, and The Baltimore Sun. And as one of the thank you gift for the Havel Festival, Václav Havel had given me a huge volume of correspondence from Shirley Temple Black and her aides at the U. S. Embassy in Prague. I had almost forgotten about it, as it seemed so imposing. It turned out to be a treasure trove.

For the scenes, I also used my interviews. One interviewee told me the story of being interrogated about The Berlin Wall, despite the fact that he had been held in detention and knew nothing of what had happened. Another told me about a former secret service officer who begged to speak in Wenceslas Square. And Havel himself told me a little about the person upon whom be based the original Staněk.

Terrence Stone and cast sing a chorus

My interviews inspired the choruses. I knew that Henry Akona is adept at capturing patterns of speech in his music, so I filled the choruses with quotes from my interviews, mixed with the chants of the protestors. I grabbed some quotes from Havel’s speeches and contrasted with the first-hand accounts of the listeners internal reactions when hearing him speak. I tried to include all the doubts, all the confusion, all the surprise. And for the second chorus, I used allusions to the famous 19th century Czech poem “May,” by Karel Hynek Mácha, to connect with Czech Nationalist and Romantic traditions.

All that went into the mix, along with the body of literature using Ferdinand Vaněk, Havel’s signature character and a symbol of the dissident movement. But perhaps most of all I wanted to bring out the feeling inherent in all of Havel’s work, captured in his first address as president. No matter how great the seeming triumph, there are no easy answers. The world is filled with more questions, and the greatest of all may be: what’s next?

Wednesday, November 19, 2014

Money Lab: Call for performance proposals

Money Lab: An economic vaudeville is looking for performances for its March 20 – April 12 run at HERE theater.

The parameters are as follows:

- All performances must address an aspect of economic theory (Keynes, Marx, the gold standard, the meaning of the word free, etc etc)
- No performances can last more than 7 minutes.
- No performance can have more than 4 artists
- We are seeking music, dance, video, burlesque, clowning, comedy, puppetry, sketches, storytelling, and other unconventional forms of theater and performance.
- We are seeking fully realized performances, not scripts or ideas. However, if you have a five-minute monologue you would like to submit on the subject, we are separately considering those.
- Every show act will receive 2 – 6 performances during our run, the majority of which will be in one of the weeks of the run

Payment: Artists receive $50 each/performance Artists include performers, choreographers, writers, etc (in other words, if your performance has 2 performers, with one writer/director, all three of you will receive $50/performance.)

Please provide us with a work sample of some sort, as well as your idea. Acceptable work samples include scripts and videos. Also provide a few reviews of your work and a reference.

Please make your piece a serious attempt to tackle an economic issue in an entertaining manner. Entertainers with an academic background in economics are particularly welcome. HOWEVER, this is still an entertainment, not a lecture. We are looking for playfulness, and we prefer questions rather than answers.

This was originally produced as a workshop at the Brick Theater. To get a sense of the tone, please visit our website or read some of the original press:  from The Village Voice, Fanchild, and New York Theater

All artists will be eligible for an additional stipend, awarded to one person (in conjunction with an auction) at random every evening, as part of an auction/economic game.

Submissions will be accepted until December 20. Acts and schedule will be determined in January. Additional support, such as rehearsal space (beyond tech), etc, is possible depending on funding, but not guaranteed.

Email proposals and all information to: utc61moneylab@gmail.com

Wednesday, June 11, 2014

Concession curation and the Cel - Ray cocktail


I started curating the concession stand during the HavelFestival.

One thing that I always do when I travel is try the junk food.  The chocolate, the salty snacks, the sodas, whatever I can find.  Somehow, to me, that is where I really get a sense of what living in the country is like.  Restaurants are fine, I love tasting the local cuisine, but on a day to day basis, growing up…I would bet the junk food is at least as representative.  Because all the flavorings are there, in distilled chemical form, distributed on a processed potato product or other unhealthy conveyance method.

So when I was presenting the works of Havel, I thought, let’s bring the taste of the Czech Republic here as well.  Fortunately, there is a Czech and Slovak Variety Shop in Long Island City, Queens, which provided a full range of the treats.  My favorite is the Fidorka, which I had chosen through carefully judged eating in supermarkets and small groceries in Prague.

It proved wildly popular.  In fact all the snacks sold out quickly (as did our Pilsner Urquell).  Berit Johnson, who was running our concessions at the time, started out as a doubter, but over time became a believer.

I have been curating the concession stand ever since, culminating perhaps with The Pig, which included a full meal, provided by Korzo.  But the Fidorkas were not forgotten: they were dessert.

Besides adding a sense of fun, I do think there is something to actually being connected by taste to the theater.  Perhaps that is part of why dinner theater and experimental theater have been joining forces so actively recently.  It engages another part of the brain and really provides, in neurological terms, a new cognitive framework for the appreciation of the performance.

Which brings me to my Cel-Ray cocktail.

For the Festival of Jewish Theater and Ideas, one of the elements of our concession stand was Dr. Brown’s Celery Tonic, better known as Cel-Ray.  A staple of Jewish delis, I first enjoyed it as the perfect accompaniment to pastrami on rye. I don’t eat meat now, but still enjoy the occasional drink of it.

I did overestimate the popularity of the drink.  For the uninitiated, celery soda perhaps seemed a doubtful product.  With about 50 extra cans, I had only one choice: to make a Cel-Ray cocktail for the after party.  I mixed it with Jose Cuervos tequila and called it a Jose Rosenbaum.

Recently, I was approached for a cocktail recipe for a book of recipes by sci-fi authors.  I have now gone back and perfected it.  For the good of theater.  For the good of society.

Here is the secret formula:

The José Rosenbaum

5 parts Cel-Ray
2 part Jose Quervo tequila
1 Mean Bean (a pickled, spicy string bean)
1 Grape tomato
Kosher salt
Cayenne pepper
Celery salt

Rim the glass with a mixture of kosher salt, cayenne pepper, and celery salt (my taster, aka my wife Connie, recommends skipping the celery salt…too much celery).  Mix Cel – Ray and tequila with ice, stir gently.  Pour into an old fashioned glass.  Garnish with Mean Bean and tomato.

I’m serious about the Mean Bean.  It makes the drink.  And it’s delicious.  Get it here.

Enjoy!

Friday, May 23, 2014

Obies Follow Up - Reflecting after the 2014 Awards


So the Obies were Monday night, and the trend that I discussed in my last blog post continues.  In general, approximately 90% of the work rewarded has budgets of $250,000 or more, though the calculations are a bit complicated this year for reasons I’ll get into.

Before I go into that, I do want to mention, as I did last time, that these posts are not meant to denigrate anyone involved, especially the award winners.  I saw and enjoyed a few of the shows honored, and they were all good shows created and performed by talented people.  I know a few people who were on the awards committee this year, and I know their hearts are in the right place.  And I am very fond of Obie chairman Michael Feingold as a critic, I think he did much good over the years.

Which in many ways is what is inspiring me to write.  I think that we all can become prone to a certain sort of narrowness of vision over time that leads us to lose sight of the broader picture.  In this case, many of those serving are frequently working with (or reviewing) the people being honored, and it may be hard to realize that a large and important part of the downtown theater scene is mostly being ignored.

Ironically, this is exactly the part of the downtown scene that most benefits from the awards.  To many receiving the awards on Monday, the award served as a bit of a (deserved) ego boost, but had little or any impact on their career.  But it is the lesser known shows with the smaller budgets that have the artists who truly need the recognition.  And of course, that was the purpose of the Obies to begin with: to recognize those who haven’t been seen and recognized by the mainstream.  In those days, the mainstream was simply Broadway, and the small budget shows were much fewer in number.  Now Off-Broadway exists mostly in the upper middle class of theater budgets, and yet it still persists in looking up at the upper upper class and saying, aren’t we poor?  Meanwhile, the lower class, or even the lower middle class is mostly ignored.

Do we really have to reflect American society that directly?

In regard to Monday’s Obies:  There were 20 awards given to shows, some with multiple recipients.  I face a problem with these calculations about how to group them.  The World Is Round received 3 awards, but they seem to be grouped together.  The Octoroon’s playwright, Brendan Brandon-Jacobs, won a playwriting award that also covered his work on Appropriate.  However, cast member Chris Meyers also received a separate award.

So if you group the awards as Playbill does, you find yourself with 20 awards.  However, the listing on the Village Voice website seems to indicate 26 awards.  The reason the difference creates very different calculations is that two shows, This Was The End and The World Is Round, fall under the $250,000 threshold.  So the result is that either 2 of 20 (10%, right on the average) or 4 or 26 (a surprising 15%) of Obies this year went to more moderately budgeted shows.

Close to the border, I suspect, is NAATCO’s production of Awake and Sing, for which Mia Katigbak won an award.  I am counting it as over $250,000, because of the size of the cast, but I could be wrong there.  Please feel free to correct me if you have contradictory information.

I will also mention $250,000 is a very high threshold.  I have never done a show with a budget over $100,000, the closest I’ve come is around $80,000, and that was officially Off-Broadway (astoundingly little for an Off-Broadway show, but nonetheless…).  With the in kind contributions my theater company has received from the venues/co-producers, that budget has reached a little over $100,000.  I know many, probably the majority working downtown who have never passed the $50,000 mark.  I actually assumed at first the budget for The World Is Round (a show I saw and loved) was over $250,000, but some investigation revealed otherwise.  Good job on their part.  I wasn’t able to discover what support BAM provided that wasn’t on that official budget, but it was a show that easily could have broken the $250,000 barrier regardless. [UPDATE: That includes BAM support]

So, using the more generous assessment, here are the updated totals for the Obies over the last 5 years:

The Public 18, Signature 10, Playwrights Horizons 9, Soho Rep 7, Manhattan Theater Club 6, New York Theater Workshop 5, Lincoln Center 4, Rattlestick 4, BAM 4 (3 of which are for World Is Round), Foundry 3, Ripe Time 3 (also credited for World Is Round), , Elevator Repair Service 2 (both times at The Public),  Classic Stage Company 2, HERE 2, Incubator Arts 2 (counting Three Pianos, on stage at NYTW at that point), Manhattan Class Company 2, St. Ann’s Warehouse 2, Theatre for a New Audience 2.

And those which have won a single OBIE in those years:  Alliance Francaise, Ars Nova (Natasha & Pierre, which had moved to a commercial production), Atlantic Theatre Company, Barrow Street, Baryshnikov Arts Center (Fela, which had moved to Broadway), Bushwick Star/The Debate Society , The Chocolate Factory, La MaMa (Good Woman of Setzuan, moved to The Public), NAATCO, Partial Comfort, Pig Iron, The Play Company, Primary Stages, PS 122, Second Stage, Punchdrunk, 3LD Art + Technology Center (as part of Under The Radar), Transport, Vineyard.

In terms of budget: out of 96 awards, 84 went to shows with budgets definitely over $250,000, 5 were definitely under (3 for World Is Round), and 8 were in the gray area for me (including Awake and Sing).  So the percentage of lower budget shows is between 5 – 13 %.

I would remiss to write all this without suggesting some solutions.  First, a larger Obie committee.  Quite frankly, I think it is unfair to ask to few people to see so much.  There are a number of qualified possibilities, and the number could be doubled, at least. And for those new Obie members: select people who are part of the true independent theater scene.  Second, a clear way to contact the committee and let them know about your show.  Yes, if you have the right press agent who knows the right people to contact, it can be done.  But the contact should be published on the website, and the committee should be announced, as early as possible.  Finally, and most importantly, there should be a commitment from all the judges and the Obies as a whole to seek out those smaller shows.  To see things that you may know nothing about.   I know it’s not all going to change overnight.  But a commitment that, say, 33% of the awards will go to lower budgets shows is not impossible, by any means.  And that commitment in itself will inspire the judges to seek out new work.

It’s not easy.  In response to my earlier post, I had a few people ask me privately, what should I go see?  Here’s my honest answer: Like everyone, I live in my little bubble.  I can tell you about my friend’s plays, some of which are very good.  And occasionally I am drawn to something outside of that bubble. I recently saw Then She Fell, which I thought was amazing (and never won an Obie), but that show has received a fair amount of recognition, which is why I knew about it to begin with.

I do know some of the places where you can find those shows.  Some of them have won an Obie (or two) over the last five years, but considering the number of Obies given and the number of shows at these theaters (which have much busier seasons than the large institutions), most of the shows never get seen at all.  I know, because I have worked at a lot of them (as I warned, of course, it is my friends I know about).

So go to The Ohio, HERE, 3LD, La MaMa, The Brick, Dixon Place, Abrons, The Secret Theatre, The Chocolate Factory, Metropolitan Playhouse, and all the other smaller theaters about town.  And not just when Taylor Mac or Black Eyed Susan or a downtown luminary is performing, do it when a possible future downtown luminary is performing as well.  For my part, I pledge to look beyond those theaters and really try to seek out interesting shows I would not know about, to look at the tiny reviews with only a paragraph or two devoted and think, could that be interesting?

New York is a busy place.  It is hard to see even my friends' work, plus those few shows that have received enough buzz to make them interesting to me.  To venture into the great beyond?  It takes time, and it takes effort.

So I am asking a lot, I know.  But I am asking it because I think it is important.  If you are in any way in a position to influence future awards, please consider it.