Tag Archives: independent theatre

The Blarg No. 83: Tony Moschetti

I need to get back to watching movies of consequence. I need to get back to watching more movies in general, but I’m talking about stuff with plot, and great dialog, and you’re left wondering whether a great film has to also be entertaining. It used to be that’s all I watched. I would never go see summer blockbusters, popcorn fair, or what have you. Any film I went to see was showing at the old Camelview. Now, I’d say ninety percent of the films I go see are exactly that: Marvel films, Pixar stuff, Star Wars—basically, Disney gets all of my moviegoing money.

Part of that, and I know I’ve talked about it at some length before, is that I denied myself the enjoyment of nerd culture for so long. I am a nerd. I’m proud of it now, but there was a time when my nerdiness, a large part of my identity, was bullied underground. Probably from the ages of about 13 to 25, I eschewed anything that I thought might be considered nerdy or immature, and I went full on high brow. I learned a lot, my horizons expanded, my interests grew. The quality of the films and literature I took in greatly improved, but the fun was missing. Not that some of the films and books I read weren’t fun, but I was definitely focused on being serious.

Slowly, the fun started creeping in around the edges. It was bound to happen eventually. The closer I got to 30, the fewer fucks I gave. Now, at 35, I give zero fucks. I’m a lot happier. I wouldn’t say I’m happy, because I’m also just a miserable fuck with major anxiety issues and self-esteem problems. I think it’s genetic. I also think that the nerd I unleashed in my 30’s has been on an overcompensating rampage. Couple that with the fact that I’ve developed a lot of focus and attention span issues, and I wind up with this current state of imbalance. I think there is a balance. I’m working to achieve it. This year I’ve gone to see two new films that would not be considered mainstream (the most recent being Sorry to Bother You, which was fucking brilliant), I’ve made a point to see things at Film Bar, and I’m very excited about the programming PHX Film Society is doing (and even more excited to that they’re our first sponsor).

That being said, I also just binged my way through the Mission Impossible franchise (I think four and five are legitimately good films, the third is okay, the second is one of the biggest pieces of shit I’ve ever seen). Balance—trying to find it.

On this edition of Limited Engagement, Tony Moschetti discusses the challenges of starting up an independent arts organization (Laughing Pig Theatre), gaining an audience, podcasting on the fly (Starving Artists PHX), and at one point attempts to take over hosting duties. Visit Laughing Pig’s Facebook page for all of the latest information on their events and programming, including workshops, classes, and performances.

Best,
Jared

Listen to LE 83 – Tony Moschetti

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The Blarg No. 56: Howl Theatre Project

2017 has a lot to answer for, but it’s offered up some amazing moments as well—for Limited Engagement in particular and myself along the way. It’s been rough but rewarding keeping up with the weekly format. I kinda miss the monthly live show, but if I bring it back, it needs to be something that sets it apart from the regular podcast—something special. I’m not sure what that something is yet, hence the continued hiatus as hurl ourselves into October, hoping to burst across December’s finish line. Hoot N Waddle is coming along, slowly but surely. It’s not where I was hoping it would be yet, but patience is something I’ve never been great with. We’re doing Hoot N Waddle right, and that takes time.

To that end, we launched our first podcast on the network, a partnership with Jessie Balli and Chatterbox, the appropriately titled Chatterpod. You can hear the pilot as a Limited Engagement episode (LE 50), and the first official show on the Chatterpod landing page (more episodes are coming soon, I promise). Also, this last week, I recorded a show for Leah Marche and Mike Pfister at The Nash—it was fucking awesome. I’m not sure exactly how or when that is going to come out, but it’s a long-term partnership, and there are more shows to come. Then, this month we’ll be setup over at Phx Zine Fest to record anyone interested in sharing their experience—vendors and attendees alike. Should be fun.

Adding to the milestone of our “Best Podcast” nod from PHOENIX Magazine in their Best of the Valley issue, Phoenix New Times just named Limited Engagement “Best Cultural Podcast” in their Best of Phoenix 2017 issue. It’s really cool to have the show acknowledged and legitimized in the media like this, but I’ve gotta say, it stresses me out a little. Now, I feel like I’ve got more people paying attention, and when you’re named the best of anything, there’s this tendency for people to wait for something to slip quality-wise, so they can say, “Eh, that show’s not that great.” I’ve just got to keep my head down and keep doing what I’ve been doing. I think I can handle that without imploding. I’ll let you know.

This week, I talk to Chris Danowski, Bethanne Abramovich, Jamie Haas Hendricks, and Jake Jack Hylton of Howl Theatre Project. I had a blast talking to these guys. Somehow we managed to get completely absurd while weaving in a serious discussion on the state of independent theatre in Phoenix, as well as talk about the craft and work involved in mounting a stage production. Their most recent show is The New Phoenicians, and if you ever have the opportunity to check out anything they do, you absolutely should, because they’re awesome.

Listen to LE 56 – Howl Theatre Project

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