Why? “Antigone isn’t wrestling with a prophecy. In her story, fate is what one powerless girl makes it, and right action is possible, as long as we don’t fear the consequences.” - The New York Times
Three and a half hours is the danger zone: the length of many an unabridged classic. The artists, too often, haven’t thought of the way time sits on our bodies and our minds. This is the play you’re most likely to feel restless in, like it has taken up too much of your day, like it has outstayed its...
“Since January, (Nataki Garrett), whose era-defining OSF term lasted just four years, has been at another helm as interim artistic director of San Francisco's African-American Shakespeare Company, and she's optimistic that this new appointment will be less troubled. For one thing, she no longer retains a security detail.” - San Francisco Chronicle (Yahoo!)
“Pittsburgh Public Theater, founded in 1975, and Pittsburgh Civic Light Opera, founded in 1946, will cease to exist under the plan approved by their boards. … The new, as-yet-unnamed troupe plans to announce its inaugural programming this fall and debut in January. For now, the two groups will continue their planned seasons." - WESA (Pittsburgh)
Sara Holdren of New York magazine recounts how she went to review Every Brilliant Thing on Broadway and wound up as the star’s love interest. - New York Magazine (MSN)
“The former is the perfect excursion. If it’s a bad show, you’re not held hostage for long; if it’s good, you can bookend the night with a meal and a drink — or go home for an early night. … Stretch longer — five hours and beyond — and the entire shape of a work changes.” - The Guardian
Theaters cannot simply reduce expenses and expect to find long-term stability. At some point, the conversation must include new ways of thinking about revenue, capital, and value. - Leading Creativity
Lofty and pragmatic in equal measure, these leaders are reconstituting Los Angeles’ theater culture, fighting for the survival of nonprofit theater in America and shaping the future possibility of the art form, here and beyond. - Los Angeles Times
“’Playwrights Horizons regrets that Mr. Lynch felt excluded because of his race,’ the theater said in the six-sentence statement issued by both parties. The statement did not specify whether the theater paid any money to Mr. Lynch, but said (the parties) 'have agreed to resolve the matter out of court.’” - The New York Times
Indhu Rubasingham remembers the long lines when she brought Bollywood legend Shabana Azmi to the NT in 2000. “You can put people on this stage and that means something to different communities. It is like a beacon, and it opens its doors for different audiences depending on what you put on the stage.” - Variety
A new venture in Los Angeles brings the Shakespeare Center and local veterans together for a year-long learning and writing experience. They perform today, and the program is billed as “written by the Ensemble of Veterans In Art & US Vets in collaboration with William Shakespeare.” - LAist
“If you’ve got strong creative instincts, the ability to authentically portray emotion, and are capable of staying true to a character’s voice throughout a scene, there’s a job listing calling for your experience.The catch: ... You’d be using your talents to train an AI model.” - The Verge
“Putting bands and musicians at the center of theatrical storytelling can give it a special immediacy and urgency, not least by reconnecting a form that can have a tendency to be stultified and overly formalized to its original music-making impulses.” - American Theatre
Lyricist Richard Maltby Jr. and composer David Shire met as Yale freshmen and have collaborated ever since, creating the musicals Baby and Big and the revues Starting Here, Starting Now and Closer Than Ever. Their new show, About Time, grew out of a performance they gave at their 65th Yale reunion. - TheaterMania
Higher Ground, their production company, is one of the main backers of this spring’s 16-week run of David Auburn’s Tony- and Pulitzer-winning play Proof, starring Don Cheadle and Ayo Edibiri (in their Broadway debuts) and directed by Thomas Kail, who staged Hamilton. - Variety
