Howdy Tramps, and welcome to Write All Nite[1] (if you didn’t click on that [1] – click here). Since I’ll be the sole voice on these pages, I should probably provide y’all with a brief, Bruce Springsteen-inspired bio before I delve into what I’ll actually be writing about here:

My name’s Steven Strauss, and I was born in Baltimore (Jack), bred down San Diego way, pulled out of there to win by E Street shuffling just north of Bruce’s home state to go to school at Columbia, learned how to learn more from a three minute record – and other art forms –  by getting a degree in English with a particular focus on theatre-related classes, entered the working, working, working life at Jeffrey Richards Associates, worked, worked, worked my way up from being a marketing intern to a press assistant and finally an Associate Producer, and then left that job after a few years to pursue my runaway American dream of becoming a writer – thus ends the Sparknotes version of my last 26 years burning down the road.[2]

Basically, this website is my first foray in turning that aforementioned dream into a reality. What will I be writing about here? A multitude of subjects, but predominantly: Theatre of all shapes and sizes. I’ll mostly be focusing on New York Theatre – both Broadway and Off-Broadway fare, but I’ll also dabble in London Theatre [3] and Regional Theatre as well.

In addition, I’ll also find time to muse on Film, Television, Bruce Springsteen, and whatever other Spare Parts strike my fancy.

Two points I want to make clear before I let you go:

  • Though I’ll be ‘reviewing’ most of the art that I experience – particularly in regards to theatre, which will be an excessive amount – I hesitate to label what I’ll subsequently write as conventional ‘reviews’ because that term usually denotes a piece in which a writer merely conveys their highly subjective opinion: “I didn’t like this, and here’s why blah blah blah.” Though perhaps that’s what people want to read, a more universally-resonant approach entails focusing less on one’s own feelings regarding the quality of a production and instead exploring what exactly that production can communicate to its audiences. Of course some plays and musicals connect with viewers more than others – which must always be considered – but I honestly believe that everyone’s opinion regarding the debated quality of a show is equally valid; it’s an endless debate without a conclusion. Most reactions are based entirely on personal taste, but the job of a ‘critic’ is to try to remove their subjective taste from the equation as much as possible – knowing it’s impossible to do so fully – because all of their readers will assuredly not share their same taste. As such, I will strive to analyze a production strictly on its own terms.
  • I believe an audience member’s interpretation of a work of art is just as valid as the artist’s original intention behind making that work of art. Once an artist shares their work with the public, they no longer own it; their audiences do. And since this art no longer belongs to them, their interpretation of it becomes just one amongst many equally valid (if not equally enlightened) interpretations.

Other writers have allowed me to think about what I experience in richer ways so that art has become the most transformative force in my life. Write All Nite is my attempt to pay it forward…

 

 

FOOTNOTES

[1] My justification for a writer misspelling a word contained in the title of his website: I preferred the bookend look of ‘Write All Nite’…or the ‘Write All Night’ URL was already taken – I’ll let you decide. Oh, and if you were for some reason offended by being called a ‘tramp,’ A) you shouldn’t have been because B) you’ll find out why soon enough…

[2] …soon enough has arrived! If you didn’t recognize any of the Boss-related references in this paragraph, then you’re most probably not a Bruce Springsteen obsessive like yours truly. In any case, we’re all TRAMPS that were born to run, isn’t that right Wendy?

[3] I will always spell ‘theatre’ with ‘re’ at the end instead of ‘er’ because that’s the way the lords of theatre – otherwise known as our Anglican brethren on the right side of the Atlantic – spell it. We Americans don’t get to just barge in and declare we’re right and they’re wrong, ESPECIALLY concerning an art form they’re still superior at than us.

 

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