Maxine Glorsky: A Life in Stage Management

by Lisa Mulcahy

When it comes to creative and technical accomplishments, Maxine Glorsky has an impressive list to reflect back upon. Glorsky has been a highly regarded dance stage manager for many companies for decades. Her seminal work includes SM duties for Lar Lubovitch since 1970, as well as the Juilliard Dance Repertory since 1998. Her list of credits include the Martha Graham Dance Company, Les Grands Ballets Canadiens, the Maria Benitez Spanish Dance Company, and numerous other dance companies extending to modern, ballet, and ethnic disciplines. She has also worked in opera with the Dallas Civic Opera, among other companies. Early in her career, Glorsky also worked in lighting design, and assisted masters such as Jean Rosenthal as well as Jules Fisher. Her Broadway stage production credits include the 1973 production of Seesaw, as assistant to Fisher, as well as assisting Rosenthal on both 1967’s Illya Darling and 1966’s The Apple Tree

Reordering the Hierarchy of Culture: Bryan Doerries and Theater of War

by Howard Sherman
Theater of War's Antigone in Ferguson at Harlem Stage
Theater of War's Antigone in Ferguson at Harlem Stage

"Our belief is that when you approach audiences with a reverence for the intelligence and the experience that’s in every room, and the humility for what might be possible, new things are possible in the theatre.” 

Those are the words of Bryan Doerries, founder of Theater of War Productions, which for a decade has been bringing classic works by Sophocles, Aeschylus, Euripides and others to military audiences, revealing how works that are some 2,500 years old still hold meaning and emotional power for present-day audiences, particularly those dealing with some of the greatest challenges anyone can face. Doerries chronicled his own work with both currently serving members of the military, as well as veterans’ groups, in his 2015 book, The Theater of War. In conversation with SD in November, Doerries suggested that while that work continues, it represented merely Act I of his utilization of the classics, with Act II now underway as the company expands to now serve not only the military but the mental health, medical, prison, justice communities and those affected by disasters.

The Fake Food Cookbook

by Jay Duckworth

We are at that time of gift-giving, when we give things to people that we hope they will need and use. One of the gifts I received this summer and have used [Really, I did, see this month’s Answer Box] was a book that Tammy Honesty brought out to NYC on her last visit. The Fake Food Cookbook: Props You Can’t Eat for Theatre, Film, and TV created by Karestin Harrison and Tamara L. Honesty from Focal Press is a great new resource. I spoke with the authors to learn how the book came into existence.