theatre
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(How to Lose Yourself Just Enough to Find the Truth) The courtroom is a stage that denies it’s a stage.The script insists it’s nonfiction.The actors swear under oath. But make no mistake: the trial is theatre – sacred, structured, and dangerous. The bailiff calls “All rise,” and we do, obediently, as though waiting for the
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The night I attended The Book of Mormon was not just another show on Broadway. It was a milestone, a celebration, and a farewell. This particular performance marked the final bows for Cody Jamison Strand, Keziah John-Paul, PJ Adzima, and Lewis Cleale – with Cleale closing an incredible fourteen-year chapter as an original cast member in the role of Joseph Smith
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This production of Waiting for Godot arrived at a moment of personal resonance for me. It is one of my favorite plays. I often write in the absurdist tradition (my piece Funeral of god springs from that same space of uncertainty and strange humor) so I came with both affection and expectation. What I found was a
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The Broadway production of The Great Gatsby is a dazzling and heartfelt reimagining of Fitzgerald’s classic, blending roaring-twenties glamour with timeless emotional truth. I saw the show on October 19, 2025, and it was a night of remarkable performances, lush design, and surprising intimacy. While audiences eagerly anticipate Jeremy Jordan’s return to the role of Jay Gatsby, Ryan
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Yasmina Reza’s Art remains one of the most incisive and rewarding plays ever written about friendship, pride, and perception. The current Broadway revival, which I attended on October 19, 2025, was nothing short of extraordinary. What begins as a simple argument over a white-on-white painting evolves into a riveting and hysterical study of how fragile
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Burnout doesn’t knock politely. It crash-lands in your inbox like a flaming email chain where everyone is still hitting “Reply All.” And if you’re a lawyer, entrepreneur, or philanthropist (or worse – some mutant cocktail of all three like me), burnout isn’t a risk, it’s practically a job perk. We spend our days juggling statutes,
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Structuring a Closing Argument Like a One-Act Play The difference between a good closing argument and a forgettable one is the same difference between a standing ovation and a bored cough in row B: structure. Not evidence. Not emotion.Structure. Because whether you’re pleading for justice or staging a one-act in a black box theatre with three
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Building Narrative Weight from Seemingly Mundane Objects There is a particular kind of arrogance that arises during early drafts, where we playwrights believe our themes will be obvious because we’ve written them in capital letters and made two characters argue about Nietzsche in the rain. They won’t be. What audiences remember – what they feel –
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By Brian S. Brijbag, Esq. They call it “Hell Week.”In theatre, it’s the final stretch before opening night — a gauntlet of missed cues, forgotten lines, and panic-fueled costume changes.In law, it’s the days leading up to trial — a maelstrom of deposition reviews, exhibit binders, and the existential dread of a 7 a.m. docket call.I’ve done both.
Brian Brijbag 