Daniel Martine 
Member since Jun 21, 2013

Recent Comments

Re: “Bad Santa: Tennessee Shakespeare turns Godot into a Holiday Hellscape

Chris, one of your best and most insightful, honest reviews I've yet read. I'm quite mad about Beckett. I have had the privilege of performing in 'Godot' (twice), Krapp's Last Tape and Endgame (including the Mime For One Actor at the end of Endgame) in my career. I'm going to see the play this weekend if tix are still available. Based solely on your review. Keep up the grand work. Peace,

Daniel Martine

1 like, 0 dislikes
Posted by Daniel Martine on 12/14/2017 at 6:29 PM

Re: “Ostrander Award Nominees, 2017 — Community Division.

I will Chris because it does bother me that so much good work is not recognized though you did say last year you thought Krapp's Last Tape was a favorite of yours but wasn't eligible for the Ossies. I saw it and thoroughly enjoyed it. But there was so much more that somehow was ineligible. Ah, such are the fortunes of theater in Memphis - Peace dude - Hope you had a great birthday.

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Posted by Daniel Martine on 08/03/2017 at 6:58 PM

Re: “Ostrander Award Nominees, 2017 — Community Division.

I agree with Olivia Johnson. There are many excellent productions and performances that get short shrift by the Ostranders in independent productions. I don't see any reason why the Ostranders cannot add an independent awards division to the mix.

You have a college and university division which is wonderful. They need to be recognized for their good work. But much of the most progressive and edgy theater in Memphis is done by independent theater groups. More new works and writing are showcased in independent theater groups than among the major theaters, by and large.

So, can anyone at the Ostranders tell us why this can't or shouldn't happen. There are many of us who are actors, directors and writers who wonder why this issue has not been properly addressed. Or, if it has in the past (I'm unsure because I'm not a native Memphian), what the reasoning was for this unfortunate state of affairs.

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Posted by Daniel Martine on 08/03/2017 at 6:34 PM

Re: “Memphis Theater Community Mourns Actor, Volunteer Ron Gordon

You will be missed, Ron. I loved your brand of sly humor and the quiet way you helped so many people. I remember bringing you onto a film where there was no script and the character i outlined for you came off without a hitch in your capable hands. "Improv" at it's finest, my friend. You are now with your beloved daughter. Peace...

8 likes, 1 dislike
Posted by Daniel Martine on 04/17/2017 at 5:16 PM

Re: “"Orpheus Descending" is Ragged but Right

Chris, you stun me, as usual. You know I know my music. How inspired to whip out Merle's classic "The Running Kind" and tie it onto 'The Fugitive Kind' and 'Orpheus Descending's' ratty ass tail (tale :) ). I've worked with just about everyone in that cast, and you're right about them. Props to you. And props to the cast and director.

4 likes, 2 dislikes
Posted by Daniel Martine on 06/17/2016 at 5:25 PM

Re: “"Film" and "NotFilm": Buster Keaton & Samuel Beckett visit Brooks Museum

Nice article Chris. I saw this odd film many years ago in college as part of our film club. It's definitely worth seeing again, magnificent failure that it was. Its bastard cinematic stepchild has to be Coppola's "One From the Heart". Another magnificent failure.

2 likes, 0 dislikes
Posted by Daniel Martine on 06/15/2016 at 4:45 PM

Re: “Helen Keller Jokes: GCT's "The Miracle Worker" is what it is

I have not seen the production and probably won't have the opportunity. I just want to mention that using music in theater productions not musicals or musical revues is often a dicey and difficult proposition. Straight stage plays by excellent playwrights rarely need such devices. Perhaps, in the modern era for a waning audience it's thought that bringing in that element might help the entertainment value of the piece and thereby increasing the audience. But, I really don't buy into that.

I recently watched online a filmed version of a play I saw on Broadway back in the day when I lived and acted in NYC. It was 1980. The play was The Gin Game with Hume Cronyn and Jessica Tandy. The taped stage piece had no music during the play itself. Though it did use music in the opening and closing credits. The play was brilliantly acted and wonderfully written. And was a delight to watch. With the right material, a talented cast, and a director who understands how to work with actors and stage a production, you have all the elements you typically to offer up a compelling performance. When one of those elements is missing or sub-par, then the results can often be spotty.

Bad, or even good music will not help if another element is lacking or sub-par. In a situation where space is a problem in the staging, and the writing is not suitable for a modern audience, during a modern theatrical stage experience, then music, good or bad, will not enhance the experience. Some plays I've seen performed in town were poor choices from a script standpoint, because the text is dated and out of place in a modern context. Obviously, some classics work using older language, in example, a Eugene O'Neill play. Or Moliere, Pinter, etc. Or Shakespeare, which many directors, sometimes poorly, often with genius, switch suit to patter for a modern audience.

Watching The Miracle Worker as a film with Patty Duke and Ann Bancroft will always be a stirring, bravura experience because we are celebrating the performances of stellar actors in a given era, regardless of the story. Doing it live, in the modern era, may evoke some of the accidental images and "tittering" Chris wrote about. In a very sensitive and empathetic manner, I might add. Props to you for the tenor and sensitivity of your review, Chris.

1 like, 0 dislikes
Posted by Daniel Martine on 02/01/2014 at 4:18 AM

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