There was a time in the live theatre when actors did not wear microphones. Actors were required to develop a strong ability to project their voice in song and dialogue. It was magnificent to hear a live voice singing with a live orchestra. Today, the actors wear microphones and, for many Broadway shows, the entire orchestra is artificially amplified because the stringed instruments are playing live from a different floor in the theatre and they watch the conductor via closed-circuit television.
When I think of the possibilities of what large groups of otherwise unrelated people can do when properly organized through methods that have only come about since the creation of the various protocols that make up the Internet, many things come to mind. One thing us Anonymous — a group dedicated to liberating people from any perceived oppression — whether it comes from Scientology or the Australian Government. I certainly would have never thought that masses of people would get together to want comedienne Betty White to host the late night comedy show “Saturday Night Live.”
There was a Golden Decade in American television between the years 1952-1963 when live theatre performances were aired live on the young ABC Television network. The show was called — ”The United States Steel Hour” — and it was produced by The Theatre Guild, and we’ve never had such a perfect blending of live performance for a national audience.
There’s never enough for anything in the theatre. Everything is a rush. Nothing is sacred. Covenants are daily broken.
Any performance — live or “recorded live on tape” — is nothing without tension. The live stage is filled with tension because of its unique requirement of being presented in live time while anything can happen.
When you interpret a musical drama or a live stage event for the Deaf, you have a tremendous responsibility to be clear and precise while honoring the originating spirit of the base text.