“Death is easy, but for a good eye-gouge, Broadway directors call Rick Sordelet. … A top purveyor of staged mayhem, Mr. Sordelet has created fistfights, sword duels, stabbings and gunplay for some 60 Broadway productions – as well as Hollywood films, the Metropolitan Opera, the 1995 Super Bowl halftime show, and Ben Hur Live.”
“In 2012/13 more than 22 million people went to a London theatre performance and £618.5m was taken at the box office. London cinema admissions totalled 43 million, meaning the average ticket price would need to be more than £14.40 – which it is not – for cinema to have a bigger box office figure than theatre.”
“The show had been due visit 50 US cities, with a cast including Sex Pistol John Lydon and former Destiny’s Child singer Michelle Williams. But the promoter, Michael Cohl’s Options Clause Entertainment, pulled the plug at the end of May” without giving any reason.
“The states with the highest per capita concentration of theaters,” concludes the NEA, “now include: Vermont, Alaska, Maine, Montana, Rhode Island, Oregon, Connecticut, New Hampshire, and Minnesota.”
“Hytner’s National has been characterised by several things: cheap tickets, NT Live, hospitality to experiment and, above all, a readiness to embrace the big issues of the moment.”
“It always locks in with the design. If you’re doing an ambient scent, really what you’re making is a part of the set that’s invisible. For that, you really want to work with the set and lighting designer to talk about what is the space — what kind of place do we want to evoke? As a scent designer I am supporting them in that — adding an extra dimension to what they’re trying to do.”
“What could set Cap City apart in Madison is something most audiences never consider, but which means a great deal to artists trying to make a living in the business: a Small Professional Theatre Contract through Actors’ Equity, the theater union.”
“Saul Williams, the poet and performer who played the lead role in Holler If Ya Hear Me, tells Kurt Andersen it’s inevitable that hip-hop will carve out a place for itself on Broadway. What killed Holler, Williams says, were people who wrote it off before they saw it.” (audio)
“All theater is immersive, whether we want it to be or not. You need to design your audience’s experience from the moment they set foot in your theater door, or, preferably, as they approach it from the street.”
“What we’re talking about is everybody is paid, from the top down. …And they’re all paid at as close to (Actors’ Equity) scale as possible.”
“Producers constantly say that West End ticket prices are so high because of the high rents charged by theatre owners, and this would be a way to circumvent those demands – although of course the costs of kitting out a pop-up venue are likely to be very substantial indeed.”
“It’s inevitable, but not without a certain amount of consideration towards rap’s unique and specific position in the music sphere. Also, I am doubtful of its ability to be successful using the same formulas of other more successful jukebox musicals.”
“Throughout the three weeks of the festival there have been almost daily demonstrations. Several shows have been stopped or disrupted, though the worst nightmare of the organisers – total cancellation of the entire event, as happened in 2003 – has happily been avoided.”
Lisa McNulty, “who has been the artistic line producer at Manhattan Theater Club since 2006, will begin her new job on Aug. 11. She has a long history with the 36-year-old Women’s Project Theater, whose mission is to produce plays written and directed by women.”
“More than 100 people either fainted or left the theatre after being overcome by on-stage gore – making it a strong candidate for the most potent show in British history. … Those who fainted included The Independent‘s reviewer.”
“I was listening this morning to a Norwegian doctor who’s been in Gaza and working in a hospital in Gaza, risking his neck and going through a kind of unimaginable hell. And I was thinking, well, he’s there because of Ibsen. He wouldn’t be there if that man had not influenced his society in such an extraordinary way.”
“I’ve always felt that Krapp is an autobiographical piece. You do feel, all the time, that it’s Sam saying, ‘There but for the grace of …’ For me it’s a kind of essay in aloneness – and an essay on self-deception, too, which Krapp is well aware of. He is like any addict. One side of him says ‘I shouldn’t do this’ and the other side says ‘But I’m going to – and what’s more you know I’m going to’.”
“Was there really no alternative to euthanizing a company that had achieved so much over its 22-year history?”
“Most actors are not rich – they are very poor indeed. … The one thing you can ask, I think, is that actors get paid a living wage. I would like it if all the repertory theatres that currently exist could do that. It would make a huge difference.”
“Done well, jukebox musicals, which are by nature about popular music, can have great music and dramatic insight, too. I propose that we stop being embarrassed by them, and I hope that producers and librettists continue to make the genre better. Great pop music can be celebrated well and enjoyably.” Sarah Lawson explains how, with examples.
“Compared with some other forms of Japanese theatre – Noh, for example – Kabuki had humble beginnings. It was made by common people for common people. … Other forms of Japanese theatre, such as Noh and Bunraku, subsist on government funding. Kabuki lives on ticket sales.”
“The way it was handled has created a situation we fear is damaging to the Women’s Project’s reputation, especially as it typifies the very thing we are committed to fighting — the lack of acknowledgment of the contribution of women to the American theater”
“‘It’s a different experience, that appeals to people who are not necessary theatergoers,’ said Mr Jackson. ‘We see people just sit and relax into the atmosphere, and feel more included in the whole experience.’”
“This conference was what many of us in el movimiento have been waiting for: that moment when the next generation of amazing young artists, scholars, producers, and administrators are not only ready to step it up, but have also been trained through mentorship programs, internships, and good old theater jobs.”
“Since theater is a live art form, to me there’s nothing about digitization that intrinsically makes piracy easier. Unlike the music and film industries, where digitization (and the attendant problem of piracy) has had a vast and industry shaking effect, I don’t anticipate the same thing for theater. As a friend once said, the worst piracy tool of the century is the photocopier.”
“We don’t want to close because we would be letting down whole communities and a new generation of young theatregoers in rural areas whose access to quality professional theatre is limited, but there is only so long that you can struggle on unfunded. Even though we have been hugely successful in our fundraising, this work cannot operate unsubsidised.”
“Should we look to the past and replicate the ancient Rome model where the richest pay higher prices so the poorest can come for free? Should we look to the future and create our own bitcoin-like currency? … Can airline pricing in theatre really work?”
“The Shubert Organization, a major Broadway player that owns 17 of the 40 theaters there, is positioning itself to move into the commercial Off Broadway sector in a significant way with the acquisition of the New World Stages complex, according to three theater executives with knowledge of the expected deal.”
“Productions from the Edinburgh fringe – including a one-man show from Steven Berkoff – are to be broadcast live to Odeon cinemas. The cinema chain has teamed up with online arts service Hibrow to bring live performances from the festival to [UK] cinemagoers in August.”
“Its finances are precarious, the mortgage is in foreclosure. Real estate agents are busily showing its home to potential buyers. A possible savior – Philadelphia’s Roberts family – might offer a helping hand, but not yet. As the Philadelphia Theatre Company hangs on by a thread, theater leaders say its loss would be a blow – artistically, and to the city.”