Indie Theater 101
Indie Theater 101 is a new way to learn about new American drama. Part oral history, part play anthology, Indie Theater 101 lets readers discover some of the seminal plays and playwrights of the modern Indie Theater Movement in an informal format that's similar to the syllabus of a college theater class. Listen to John Clancy and Martin Denton discuss the genesis of Indie Theater 101. Indie Theater Now is excited to debut this Virtual Anthology for just $8.89.
Your Study Guide Leader: John Clancy
John Clancy is an OBIE award winning director and Executive Artistic Director of Clancy Productions, Inc. He is the founding Artistic Director of Present Company and a founding Artistic Director of The New York International Fringe Festival. He has been honored with six Scotsman Fringe Firsts at The Edinburgh Festival Fringe, two Best of the Festivals at the Adelaide Fringe Festival, a Glasgow Herald Angel Award for direction and a New York Magazine Award for “creativity, enterprise and vision”. In 2007, his company was awarded the inaugural Edinburgh Festival Award by the Edinburgh International Festival. He serves as the Executive Director of The League of Independent Theater, the advocacy organization for Off-Off Broadway.
From the Introduction to Indie Theater 101:
When beginning to write a history, one should admit right at the top that everything to follow is completely arbitrary. Rarely do seismic events or tectonic shifts happen on a single day or even in a single year. Influences, borrowings and outright thefts can never be explicitly proven and memory turns us all into self-deluding heroes, miraculously right in the middle of it all when it All Went Down.
But I’m telling you, man.
I was there.
No, not always.
But if I wasn’t, I was right across the street buying cigarettes.
Let’s call this my partial history, then, (or at least one of them) as framed by ten of the plays published on Indie Theater Now. It’s a part of my story because nine of these plays premiered in a festival I started, four of them played in a theater I used to work at, two came out of developmental work I sponsored, and one I even directed, Americana Absurdum, the one that kicks this off.
Let’s not even call it a history, just a guided tour through a neighborhood that is now gone, It was a place I used to live and work in and one where extraordinary work by remarkable people was a common event, the frontier of new American theater, the independent theatre world of New York City, circa 1997-2006.