Nov 11, 2015

Neat little write-up about Dinosaur and Robot on

By Chris David Taylor | Sun. Nov. 8, 2015 |
Robert Linder and Janelle Schroeder in DINOSAUR AND ROBOT STOP A TRAIN
Friday night I found myself out on the town looking for something to do, and the Sundown Collaborative Theatre/Audacity Theatre Lab co-production of Brad McEntire’s “Dinosaur and Robot Stop a Train” fit the bill.
First produced as part of the Dallas’s FIT Festival in 2013, McEntire and Sundown have restaged this delightfully absurd piece of theatre in little d for two weekends before continuing for two more weekends in the historic Margo Jones theatre in Fair Park.
I wandered over from the always enjoyable Eastside, past the music pouring from the LSA Burger stage and into the Point Bank Black Box Theatre on Hickory. A simple set graced the space, a folding table, a projector and two small models of what I assumed were the stars of the show. McEntire’s work, which I am fairly familiar with, usually has an air of the whimsical and the nostalgic about it, the pre- show sound design adequately prepared me for the show to come. Snippets of old time radio static interspersed with news bulletins about missing ice cream and a coming news conference let me know what the format of the show was going to be.
Formatted like a press conference explaining their actions, a Dinosaur and Robot are brought from their respective time periods in an unexplained phenomenon at just the right moment to save a human girl playing on the train tracks near her house. The train is destroyed and the girl is allegedly saved, although she never makes an appearance for reasons that become clear later on.
Robot, played by Robert Linder, is the main spokes-robot in the play and he introduces his colleague who appears to be a Tyrannosaur played by Janelle Schroeder. We get the backstories of both characters and then jump to the present/past to hear about the incident referred to in the title of the show.
“Dinosaur and Robot Stop a Train” is mostly-family friendly and full of lighthearted jokes, physical humor and even some vaudeville as it can only be performed by a Dinosaur and Robot.
Dinosaur and Robot Stop a Train
Runtime: 1 hr. 5 mins.
Credits: Written and Directed by Brad McEntire
Sound Design by Danica Bergeron
Lighting Design by Jack Earl Piland
Cast: Robert Linder as Robot, Janelle Schroeder as Dinosaur
Original post... HERE

Nov 9, 2015


Get your own copy of this delightful monologue show about a young woman who realizes maybe, just maybe, she connects with animals way more than with people...

Get your copy... HERE

Oct 29, 2015

Combining Artistic Oil and Water

Brad McEntire at "tech" for DINOSAUR AND ROBOT STOP A TRAIN

This post was written by Audacity Theatre Lab Artistic Director and Sundown guest collaborator Brad McEntire. He is the writer and director of the current show DINOSAUR AND ROBOT STOP A TRAIN.

I am usually a one-man operation. I have made it a goal of mine for years to gain the skill sets needed to not just write plays, but act in them, direct them, produce them, design them, market them and so on.  Why? Because I want to make theatre as an artistic expression. Theatre that uncompromisingly delivers my ideas and aesthetics to audiences as directly as possible. In short, I don’t want to do covers.

If you think about it, most theatre artists perform/ direct/design/ produce (and, yes, I think producing is a kind of art) works already written from the extensive canon of history or from the recent smattering of contemporary theatre du jour. Most theatre artists make theatre for the sake of it because they enjoy the act of simply “making it.” It doesn’t have a larger agenda. The act of it, if you’ll pardon the pun, is more important than the message it is delivering. To draw a parallel from the domain of music, it is similar to dad bands made up of musicians who get together to play covers of their favorite songs. The joy is in the getting together to jam.

And, to be clear, there is nothing wrong with this approach.

After all, outside of the playwright and devised theatre ( …of which Sundown has done its fair share of in the past) theatre is, predominantly, an interpretive art form. It is for the most part, also, a collaborative art form.

I am interested in an alternative to covers and committees. It is these two factors - originality over interpretation and authorship over collaboration - that I have been questioning and experimenting with for the last two decades. And experimentation is the key. After all, my company is called Audacity Theatre Lab. From these two factors I have begun to question every idea I’ve had about the theatre: its cultural impact, how it is marketed and funded, how casting and rehearsals happen, how it operates as a nonprofit or commercial activity and so on. I have tried, over time, to eliminate the ineffectual and focus on the essence of what I was trying to create.

Like my great mentor Peter Brook, I have, in my own way, in my own surroundings, made my art a laboratory to search out what is really essential and what can be trimmed away.

That search has led me to disparate fields of study: clowning, puppetry, solo performance, improv, actor-managers, profit share systems of Elizabethean theatres and on and on. It has led me outside the domain of theatre altogether to study small publishing houses, new media studios and art galleries.

All this is to give context, because the very next question is: BRAD, WHY THE HELL ARE YOU COLLABORATING WITH SUNDOWN?

On the outside it is not a good fit. My approach of the independent, self-reliant auteur theatre artist is diametrically different than the ensemble, group-think approach of Sundown. It is in their name: Sundown Collaborative Theatre.

So here’s the why (“Why” is very big in my world)…

1.) It gets lonely on the fringes. Sometimes, as in this instance, I wanna play in someone else’s sandbox. I didn’t always seek to do the one-man band thing. I started out as everyone, doing traditional theatre with ensembles – both temporary and more permanent. Working on D&R has been a delightful, and informative return to those days. It is just plain nice to play with others once in a while.

2.) They are supportive of me. This is my third interaction with Sundown, and the most immersive, to date. In 2013, Sundown commissioned and produced my play CARTER STUBBS TAKES FLIGHT. Then they included my short piece LIZARD BOY EATS A DORITO in last year’s Short Works series. Now they have brought me to the table to write and direct a piece with them. Maybe this is because they also believe in new works for the stage or because they, like me, believe in small, progressive, independent theatre. Whatever the reason, that they dig my stuff is flattering. That they want to produce it is supportive. It is good to go where I am wanted.

3.) Maybe I’m wrong. You know all those theories and pronouncements I made above? Yeah, those don’t mean crap if they are not continually questioned and brought up for debate. As I have observed and worked alongside the actors, administrators and designers here at Sundown, I have been continually called to question things that I have, over many years, come to take for granted. Whether I continue to employ these hard-won methods or not, the testing of them is really important. That’s how progress is made.

I hope the readers of this post will make their way out to see DINOSAUR AND ROBOT STOP A TRAIN. It is the magic result of combining artistic oil and water and, just maybe, coming out with something greater than the sum of its parts.

Details on dates/times/tickets and such…HERE

Original post from the Sundown Tumblr

Oct 19, 2015

DINOSAUR AND ROBOT rises again...

My company Audacity Theatre Lab is co-producing with a small and scrappy Sundown Collaborative Theatre.The result will be a remount of my favorite plays DINOSAUR AND ROBOT STOP A TRAIN.

A press conference is held. A dinosaur from the past and a robot from the future explain about their involvement with supposedly saving a stupid little girl from a speeding train.

The show will play in two different cities over four weekends. Playing...

October 30-November 1 and November 6-8 @ 8pm

Point Bank Black Box Theatre

318 E Hickory St., Denton, TX

November 12-15 and 19-22 @ 8pm

Margo Jones Theatre
1st Avenue, Dallas, TX 75210

To reserve tickets, email:

More info at:

Oct 15, 2015

In Praise of Book Throwers | Histrionic Kablooie

A book is casually tossed, taken home and read, and it changes everything. Usually, the influence itself is the important part of the transaction, but what about the person that threw that book? 

Someone presents you with an opportunity, an introduction, some sort of connection. These are the things that help one form a career. Here, through another installment in my Histrionic Kablooie series, I explore this metaphor of "book throwers" and how hard it is to keep track of the "books" we throw and the ones we catch. 

Please subscribe to my YouTube channel at...

Oct 6, 2015

Pics from the 2015 Scranton Fringe


ROBERT'S ETERNAL GOLDFISH in performance at the Forage Space Gallery

Ruth and I in "The Electric City"

My show was on the cover of the festival guide

Touching up my "set piece" in the hotel.

Rehearsing my show in the stairwell of the hotel.