A question about newsletters

Was hoping to get some feedback on theatre company e-newsletters. In no particular order, the questions are:

  • What software do you use to build your e-newsletters?
  • How do you manage and develop your email contact database?
  • What makes a good e-newsletter?
  • How do you send it out (from your own computer, or through a third party distributor)?
  • What are some of the other tools you use to make your newsletters?
  • How do you measure the success of a newsletter mailout?
  • Any other thoughts or tips on how to make a good e-newsletter?

Any feedback or discussion would be most appreciated. Thanks!

Flaccid, superficial, intellectually lazy

University of North Carolina drama professor Scott Walters is up to his old tricks again – alienating the nation all in the name of Theatre Ideas, Whatever:

“Is there anybody actually thinking out there anymore? George Hunka and I have never seen eye to eye as far as theatre values, but damn it, he makes an effort to actually put some ideas out there. I click around my RSS feeds, and the only blogs I see addressing anything approaching ideas are the management and marketing blogs. Otherwise, it is an alternation between self-promotion, political musings, and open threads on general topics.

“To me, much of the theatrosphere seems flaccid, superficial, and intellectually lazy.”

Oh Scott. Praxis Theatre loves you so damn much. Even if you wouldn’t know Broadway if it came up and bit you on the ass.

Theatrical geographic

Here’s the answer to Tuesday’s theatrical geographic question: This is an image of New York City’s theatre district. Boundaries as defined by Wikipedia:

“The Theatre District is an area in Midtown Manhattan in which are located the many Broadway theatres as well as many other theatres, movie theatres, restaurants, hotels and other places of entertainment. It extends from 42nd Street to 53rd Street, and from Sixth Avenue to Ninth Avenue, and includes Times Square.”


This is the first in an image-based series on theatre geography.

New theatre podcast

Praxis Theatre is thrilled to present the first in a series of theatre podcasts that Toronto-based arts writer Alison Broverman is putting together exclusively for this blog.

This edition:

1) SummerWorks wrap-up interview with Michael Rubenfeld.
2) Nostalgia corner.
3) Broverman’s biggest regret of the summer.

This podcast is about 17 minutes long. Please have a listen and pass along any comments, feedback, or suggestions for future podcasts.

10 questions: Your Truly Theatre

Ranji David and Nandini Rao.

1) What the fuck is going on?
Interactive Theatre by Yours Truly Theatre. Tired after a series of shows in a month.

2) What’s the best thing about the theatre scene in Bangalore, India?
Formation of newer groups, newer formats, newer performance spaces, and newer audiences.

3) What kind of work does Yours Truly Theatre make?
Theater forms and formats that are experimental in nature, keeping Interactive Theatre as a boundary.

4) How much of the theatre that’s produced in India is in English?
It differs from city to city. Some of the metro cities have a larger section of English theatre compared to the towns and villages in India.

5) Is Shakespeare an important part of contemporary Indian theatre?
In India the focus is on issue-based stories. Yes we see quite a bit of Moliere’s plays, which are adapted to Indian styles, not to mention productions of western writers as well.

6) Who are some of the most influential theatre makers in India, both historically and currently?
Ratan Thiyam (he is compared to the likes of Peter Brooks), Ebrahim Alkazi, Habib Tanvir, Amol Palekar, Vijay Tendulkar, Girish Karnad, Badal Sarkar, and Arundhati Nag.

7) Are there any themes or subjects that seem common to theatre that’s being produced in India?
Family-based subjects seem to be something in common.

8) How popular is theatre among the younger generations?
Not as much with the advent of TV and cinemas.

9) If you could change just one thing about theatre in Bangalore, what would it be?
Make it viable and profitable for theatre companies to survive and make world class theatre.

10) Why is theatre important?
As TV and Cinema gets into the living of humans across the global, theatre must give what other media cannot: an intimate, engaging and highly satisfying experience.