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A Response To My Quote In The New York Times (regarding Eisenberg/Equity twittered casting session)

A Response To My Quote In The New York Times (regarding Eisenberg/Equity twittered casting session)

CapnHook Profile Photo
CapnHook
#1A Response To My Quote In The New York Times (regarding Eisenberg/Equity twittered casting session)
Posted: 8/14/09 at 9:34pm

For what it is worth:

I was recently quoted in the New York Times regarding the Eisenberg/Equity twittered casting session fiasco. Although they only associated me to my "alterego" name here on BroadwayWorld and not my real name, I did wish to make a public response here for those who know me by "CapnHook" and also to the many who know me by my real name.

[For reference, the article can be found here: http://artsbeat.blogs.nytimes.com/2009/08/14/should-you-twitter-at-an-audition/?hpw ]

At the time when I had made the comments regarding the situation, I had posted my response that somewhat defended her actions based on only reading 2-3 of her tweets. I had not read the entire thread nor all of her tweets. Not only this, but also at the time, for some reason, in my head a "tweet" did not register as a LIVE publication, but as more of a "blog entry." I'm not sure why I thought this at the time, I rarely use my Twitter account, but that's where I was at in the moment I created the response to the thread quoted in the Times. I had thought that the "tweets" were published online after the casting session had come to a close.

For the record, I do NOT condone the behavior of Eisenberg's actions in the audition room. If she wanted to publicly publish the comments she made in her tweets, I think that is fine, but it should NOT be during a live casting session. It is not fair to the actors and others in the industry to know which casting session the comments apply to. In addition, those performers who auditioned during the session could easily have read the comments during the session themselves. Her actions were irresponsible. Not only that, but a lot of her comments were inappropriate in general (now that I have read a few more of them). I also reiterate my original statement regarding her professionalism, it is completely rude to be on your computer or phone during the session. I have been told by some who have auditioned that she was on her laptop and even typing DURING performers' auditions. It is appalling that a theatre professional would do this, especially the person who is supposed to be in support of every person who walks into the room, HOPING they can cast them.

I have received DOZENS of e-mails, text messages, phone calls, and facebook messages regarding my statement in the Times. It serves as a lesson and a reminder that ANYTHING you publish onto the internet is up for grabs by others, including the media. So before you make your next tweet, facebook status/note, message board post, blog entry or blog comments, just remember that the entire world now has the capability to not only see what you published (including photos & video!), but they are able to reproduce your words without warning, consent, or even without your knowledge!

The Times' picking up my lapse-of-being-in-the-right-state-of-mind comments caused quite a ruckus of my own, causing several of my friends to question my judgement (and rightfully so!). Now that they know the circumstances of my comments, they are much as ease, and I hope that those here at BWW are now, too.

So for those that care, now you know. God forbid the Times were to have published comments I have made regarding other topics, for I think I would be dead in the water!

Sincerely,
CapnHook


"The Spectacle has, indeed, an emotional attraction of its own, but, of all the parts, it is the least artistic, and connected least with the art of poetry. For the power of Tragedy, we may be sure, is felt even apart from representation and actors. Besides, the production of spectacular effects depends more on the art of the stage machinist than on that of the poet."
--Aristotle

AlgonquinProd2 Profile Photo
AlgonquinProd2
#2re: A Response To My Quote In The New York Times (regarding Eisenberg/Equity twittered casting session)
Posted: 8/14/09 at 9:49pm

Well, with any luck, the subject will now die down after her official, if overdue apology. May Ms. Eisenberg's fifteen minutes of fame now be over, for the good of everyone.

SporkGoddess
#2re: A Response To My Quote In The New York Times (regarding Eisenberg/Equity twittered casting session)
Posted: 8/14/09 at 10:12pm

I'm not too thrilled that they quoted me either, though I haven't received any emails (thankfully!) Thanks for clarifying what you meant, though I didn't think you came across badly or anything.


Jimmy, what are you doing here in the middle of the night? It's almost 9 PM!

CATSNYrevival Profile Photo
CATSNYrevival
#3re: A Response To My Quote In The New York Times (regarding Eisenberg/Equity twittered casting session)
Posted: 8/14/09 at 10:31pm

I didn't realize that the media is not required to contact someone for permission to quote a written statement. That's creepy.

Phyllis Rogers Stone
#4re: A Response To My Quote In The New York Times (regarding Eisenberg/Equity twittered casting session)
Posted: 8/14/09 at 10:43pm

Well, it's not like they were attributing them to your actual identities.

And no, if you make a statement publicly, you don't have to give your permission for it to be published elsewhere.

Phyllis Rogers Stone
#5re: A Response To My Quote In The New York Times (regarding Eisenberg/Equity twittered casting session)
Posted: 8/14/09 at 10:43pm

Well, it's not like they were attributing them to your actual identities.

And no, if you make a statement publicly, you don't have to give your permission for it to be published elsewhere.

CapnHook Profile Photo
CapnHook
#7re: A Response To My Quote In The New York Times (regarding Eisenberg/Equit
Posted: 8/14/09 at 11:36pm

JoeK, to some extent yes, but I wanted to be sure to make myself clear. Not only has an impact on my social life personally, but also professionally.


"The Spectacle has, indeed, an emotional attraction of its own, but, of all the parts, it is the least artistic, and connected least with the art of poetry. For the power of Tragedy, we may be sure, is felt even apart from representation and actors. Besides, the production of spectacular effects depends more on the art of the stage machinist than on that of the poet."
--Aristotle


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