Lauren Barrett Porter went from Ocipita to Helena in an impressive way. She played in the guerilla theatre production of Midsummer Night's Dream at Washington Square Park, a well directed production that used the relocating of the stage and audience scene changes to build momentum in an already energized performance. I spotted Tom O'Horgan in the audience looking amused and involved. He's the man who did such a number on the original broadway production of Jesus Christ Superstar, and did a finer job, I suppose, with Hair, and definitely a fine job with Futz. He is a source for all instruments musical

MTV hosted their awards at the MET Opera House, a resonant building and a career destination if there ever was one for Peter Dizozza, the theatrical composer. They were over their head, but that's what happens when you insist upon competence only slightly beyond what your audience has, otherwise your audience won't be suckered into thinking that it could be them up there, and the bottom falls out of their incentive for watching you. Oh dear. It does make for an embarrassing display. All the best to them, of course.

Even as earlier projects call for work and training to arrive at stages of completion, new ones are calling. I see Bottom and his troupe putting on the play, and the sense of superiority they bestow upon their audience. These amateurs who rely upon other trades for their livelihood advance theatre that difuses its content, lest it distress. Pyramis and Thisbe. How doubly gruesome! This portion of the play was beautifully acted and enacted, and is the substance of the Midsummer Night's Dream.