Member Reviews
A dysfunctional love story to the theatre. A coming-of-age tale cast within NYC and on unknown stages. The author’s story is keen to spark the hearts of any theatre kid or Broadway enthusiast. Full of both hopeful adventure and tragic experience, the reader can feel each puff of a cigarette and each ride on a NYC subway. I appreciated the experiences being shared, but aside from small theatre exposure I have, it did not resonate with me deeply.
The audiobook is read by Brian Holden who provides an easily understood voice at faster speeds.
Thank you NetGalley, Brilliance Publishing, Globe Pequot, and author John DeVore for the ARC in exchange for my honest review. “Theatre Kids” was published June 18, 2024!
Thank you so much for this fantastic ARC, I thoroughly enjoyed listening to it!
As a fellow theatre practitioner, I found this book relatable and loved how it captured what it is really like work in theatre, especially in shows that are very far from Broadway or in my case the West End.
I also felt a deep to connection to the protagonist and found a lot of parallels to how I often feel both as a person and a creative. I was hooked by the quote, right at the very beginning; "I wan to be loved and left alone".
I loved the narration for this audiobook, the pacing was perfect and I felt that it really was a fellow thespian talking directly to me.
My only critique is the general pacing for the book itself, I did find it slightly dragged in the middle, but overall a wonderful book.
There's a saying that goes, "Once a Theatre Kid, always a Theatre Kid", and as both former Theatre student and teacher, I can confirm that the saying is true. I've found that I can usually spot the person in every room who either likes Theatre or participated in it to some degree. Just the other day in a summer orientation a student asked me if I used to do any Theatre because she did, and I proudly proclaimed that we had found "our people".
Netgalley and Brilliance Audio Publishing approved me to check out an advanced listener copy of John Devore's memoir "Theatre Kids: A True Tale of Off-Off Broadway", and I was instantly intrigued by the title. A brief synopsis of the book says:
In 2004, in a small, windowless theater in then-desolate Williamsburg, Brooklyn, a coterie of desperate and dedicated theater artists staged an experimental, four-hour, entirely unauthorized adaptation of William Faulkner’s novel As I Lay Dying. Its centerpiece was an enormous wooden coffin that dominated the space, leaving room for fewer audience members than actors. It ran for only eight performances, fewer than one hundred people saw it, and it changed John DeVore’s life.
Out of these inauspicious circumstances, Theatre Kids weaves a hilarious and unforgettable account of outsize ambition, artistic ingenuity, dashed hopes, and the magic of theatre in fin-de-siècle New York City. DeVore tells the story of how he—recently arrived from Texas, toiling in the salt mines of Maxim magazine, and trying unsuccessfully to quit drugs and alcohol—fell in with the rambunctious and permanently broke outcasts and misfits who comprised the Off-Off Broadway theatre scene. Maintaining only a tenuous hold on his sanity and sobriety, DeVore was cast in In a Strange Room, whose sweetly monomaniacal director—undaunted by his failure to secure rights from the Faulkner estate—spent $10,000 of his own money in pursuit of a messy, ambitious theatrical spectacle that was doomed to commercial and critical failure, but ultimately led to a kind of success: a sweaty, personal, ephemeral masterpiece.
At once a heartfelt love letter to the stage and a bemused portrait of life in the waning days of American empire, Theatre Kids is a buoyant, uproarious, and ultimately moving story that will resonate with anyone who has ever created something beautiful without regard for riches or fame.
As a fellow Texas Theatre Kid, I felt like this was the book for me. The novel is read by Brian Holden who does a great job of expressing the sarcastic, sometimes bitter and biting, yet still hopelessly vulnerable voice of John. The first third of the book focuses on his upbringing and introduction to Theatre, and that was my favorite part of the novel. There were so many nods and details to things that Theatre Kids enjoy and go through like screaming musical songs at a Denny's at midnight, the excitement and drama of the cast party, the first time that you forget your line onstage, goofs and mishaps, and the silly pretention of being a "thespian". The middle section focuses on John attending college and losing his way in the world. He suddenly wasn't a big fish in a small pond, and that is something I have seen many of my students struggle with post-graduation. He stopped trying and fell into partying with drugs and alcohol - only graduating because his professors wanted him to get on with it. He learns that he actually enjoys writing and playwriting in particular, but college is over and he must go off. He ends up working as a writer at Comedy Central, but things are still not well. He's having an affair with a coworker, and then his father passes away. He leaves Comedy Central for Maxim, but he is extremely unhappy to the point of ideation. He reaches out to a former Theatre friend who tells him about his new project - an off-off Broadway nonprofit production of Faulkner (without having the rights to Faulkner...). John takes the opportunity to audition, and this messy art piece that would never get off the ground to the bigger theaters in NYC becomes a renaissance for John. The enduring nature of Theatre brings him back to life - I've always said we make art for art's sake, not just for money.
I read some other reviews of the book as I was listening, and the consensus seemed to have critiques on the point of the book. The synopsis covers the final production, but, again, we don't see that until the last third of the book. I saw one reviewer ask what made John's story so special that it would warrant getting to have a memoir. I thought this was a little harsh, but I think I understand the takeaway. Is this book about the uplifting nature of Theatre and making art? Is this book about a subsect of people called Theatre Kids and the experiences they (we) have? Is this book about an off-off Broadway production of a Faulkner work post-9/11? It is all of these things, and I think that may be throwing people off. Perhaps a little more streamlining with less side quests between John's personal life and explaining what things mean. This book is for us Theatre Kids, and if someone doesn't catch something, let them pick up on it through context.
Overall, I think this was a fun reflection of something I've always loved. The Theatre is my home. I have seen its transformative powers on literally hundreds if not thousands of people across my lifetime, and I'm only 33. If you're a Theatre Kid, or if you love a Theatre kid, check out this audiobook as it is out TODAY, 6/18, where books are sold.
Thank you to NetGalley and Brilliance Audio for providing me with this advanced listener copy of Theatre Kids in exchange for an honest review.
As a casual lover of theater (not t-h-e-a-t-r-e), I can say only a true theatre kid could have written this. Growing up knowing many theatre kids, the one thing that’s always stood out to me was the passion and commitment they had for the stage. Everyone from crew to cast, from those who joined for fun to those who actually had Hollywood dreams—drama club was the center of their beings. And that part follows them long after drama club. Hence you see theatre kids like John Devore dedicating the majority of their debut memoir to the theatre despite him mainly being a full time writer and editor for the past 2 decades or so. Can take the man out of the theatre, can’t take the theatre out of the man I guess.
I thoroughly enjoyed the first quarter of the book. The writing was tight with balanced pacing. Things kind of fell apart for me a bit after the first 3 year time skip… and the time skips after that. It was a tremulous time in the author’s life and it shows. Of course, despite this being a memoir, we as readers are not owed all the details of the author’s life. However, as a result, certain events that were then discussed felt sudden and out of place. The influx of people being introduced and reintroduced made it hard to keep up.
But alas, the title is in plural. So in a way, this is a partial memoir of all the other theatre kids that featured in Devore’s life. With some creative visionaries, I can see this adapted for screenplay on off-off broadway.
I requested this book on NetGalley while still on a readerly high from Judi Dench’s Shakespeare: The Man Who Pays the Rent. I thoroughly enjoyed the glimpse Dench provided into life behind the curtain, and I was hoping for more of the same, from a different perspective. I thought at first that I was getting that, but this memoir devolved into a maudlin, embittered recounting of the author’s failings; it was, in my opinion, almost dripping with self-loathing. John DeVore is an essayist. Theatre Kids is his debut memoir, his first book-length work. He has a clever way with words, but DeVore is no Dench, and his theatre experience left me cold and disenchanted by the end. However, the beginning was enjoyable enough to somewhat save what came after.
“One of the great mistakes of my life has been confusing integrity with fear.”
If you were a theatre kid, I have a feeling that this would be a massive hit of nostalgia. At least, the first quarter or so would. From there, it just gets more and more depressing. The epilogue felt like a halfhearted attempt to breathe a little bit of light and heart into the narrative, but it fell flat. Honestly, this just turned into such a downer that the only reason I didn’t put it down was because I had it on audio, meaning that I could listen while driving or cooking or walking my dog. If had had been reading this with my eyes instead of my ears, I would have never finished it.
“Theatre and religion are twins, born at the same time. They are rituals that nourish hears and souls and connect humans.”
I found the entire memoir incredibly meandering, and a bit pretentious in its insistence that it’s not pretentious. It’s equal parts self-indulgent and self-effacing. The tone grows more and more maudlin, and revels in it. Regarding how DeVore chose to end his narrative, the lack of any kind of focus or resolution made the entire work feel almost pointless in retrospect. But then there would be a line or two that shined so brightly, that had me listening to the same minute of the audiobook four or five times so that I could digest it fully. I saw so much potential, and loved those brief instances where it broke through the emotional murkiness of the rest of the memoir.
“A legend is the truth wearing lipstick and a wig.”
Even though I don’t have a lot of positive things to say about Theatre Kids, I do appreciate how self-aware DeVore is as he’s looking back on a certain period of his life. I found him to be wholly unlikeable, but he seems to agree, and voices his wonder that anyone continued to love and reach out to him when he was doing everything in his power to push those same people away. I became invested in spite of myself, which was one of the reasons I found the ending so frustrating. I hope DeVore is kinder to himself than he was twenty years ago, and that his relationships are less one-sided.
This was an interesting memoir. I really didn't know anything about the author, but the cover caught my eye. It was a look at one young man’s experiences in New York City Off-Off Broadway theater life, as well as his upbringing in Texas and — mostly — his life as an alcoholic and drug addict.
It was a decent book and story, and the account of his work off-off Broadway, but was very rambling. Unfortunately, the whining, lack of ambition and annoying character was not great. I didn't really love this book. It had some good moments and things to ponder and I am sure there are others that might enjoy it, but it wasn't really my thing. Brian Holden did a great job as the narrator and definitely was able to capture the voice of the narrator.
There’s something potentially interesting about the memoir of a theater kid who comes to realize he has absolutely no talent for the career he moved to New York to achieve, but I didn’t really find it in this book.
Thanks to NetGalley for an advanced copy of this audiobook.
Free audio ARC provided by Brilliance audio and Netgalley.
Theatre Kids is an interesting look at the world of theatre, and how if anything it is passion that keeps the theatre thriving. We've all done and seen some independent, small, and unique shows, and this book provides an insight into the passion, drive, and determination of artists who give all of themselves to bring about a performance. The book explored the indie theatre scene of the early 2000s New York in a way that was unique, as there are few other books that explore the very specific niche of off-off-Broadway, or other similar independent theatre circles.
The book is definitely written for an American audience and was slightly cringy for a non-American reader, however it still has resonance for theatre people worldwide. My main question when someone writes a memoir about their lives or experiences is: are your experiences interesting enough to compel me for the 8 hours it takes to read the book? In this case, I think the answer is no. While the book is well-written, the depiction of a struggling artist is quite generic, and there's not much to distinguish the author from the thousands of other NYC hopefuls as the new millenium approaches and begins.
It was also slightly disappointing that the production of As I Lay Dying that seemingly forms the crux of the book didn't feature as heavily as expected, acting as a culmination of the narrative arc rather than the impetus. That being said, the memoir did not fall into the trap of dropping endless, forgettable names - the reader is able to understand and get a good sense of the people who make up the world of Theatre Kids, and have a good grounding to analyse this very interesting social niche.
This book is a good recommendation for people who are really into theatre, particularly American theatre of the early 20th century.
Writing: B
Narration: B+
Best Aspect: Interesting stories about the author’s life in theatre. Perfect for anyone who was interesting in stage productions at some point in their life.
Worst Aspect: A little over done in parts and long winded.
Recommend: Yes.
I was interested in this book as I identify with the title. What I noticed most in this audio book is a rambling trek through the author's youth in Texas followed swiftly by a move to NYC after college. The narrator has a fairly staid way of speaking throughout, fitting the writing. Topics that follow: theatre in NYC in the 80s 90s; being too cool for Broadway; grief at the death of his father; an affair with a married colleague; 9/11 in New York; and most notably, staging As I Lay Dying by Faulkner (unauthorized) as a 4 how production titled In A Strange Room. The epilogue takes us into the pandemic in NYC and theatre finding a way through it.
I suppose the level of scorn for main stream theatre is a bit disappointing for me. This book is a bit of a grab bag for one man's journey through the off off Broadway theatre scene.
Thank you to Brilliance Publishing for an advanced listening copy on @NetGalley. All opinions are my own.
Review of “Theatre Kids: A True Tale of Off-Off Broadway”
By: John DeVore
Available June 18/2024
Check it Out on Goodreads!!
Disclaimer: Please note that I received an Audio ARC from NetGalley and Brilliance Publishing, in exchange for an honest and unbiased review.
⭐⭐⭐☆☆
“Theatre Kids” by John DeVore offers a backstage glimpse into New York City’s Off-Off-Broadway scene with a mix of humour and harsh reality.
DeVore’s narrative delves into the chaotic world of experimental theatre, showcasing the passion and desperation of struggling artists. From unauthorized adaptations to risky productions, the book captures the outsized ambition and artistic ingenuity of those involved.
For someone like myself who was unfamiliar with theatre terminology, the distinction between “On Broadway”, “Off-Broadway” and “Off-Off-Broadway” provides an interesting insight.
While the book provides a vivid portrayal of theatre life, it may not resonate equally with all readers. The focus on the harsh realities and struggles faced may disappoint those expecting a lighthearted, comedic romp throughout the world of theatre.
“Theatre Kids” offers an interesting, if somewhat sobering, look at the trials and triumphs of the Off-Off-Broadway scene, but it may not be the upbeat, feel-good read some theatre enthusiasts expect. This book may not be for you unless you have some knowledge of this world, but if you do, it’s definitely worth the read.
Get it at…
📗 - Hard Copy -📗
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📱 - Digital - 📱
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🎧 - Audio - 🎧
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Libro.FM - (Not Available at Time of Review)