Edinburgh Festivals Post (Yet Another) Record Year At The Box Office


“The fringe broke the 2 million barrier for the second year in a row, recording a rise of 5.24% on last year’s figures to 2,298,080, on an increase in productions of 3.79% to 3,314. The Edinburgh International Festival posted ticket sales valued at a record £3.8 million. The number of tickets issued passed 163,500, the highest since 2003.”

Royal Shakespeare’s Company’s New App Puts A Hip-Hop Spin On ‘Much Ado’

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RSC education director Jacqui O’Hanlon says that the app, designed for students aged 11 to 16, “would act as a ‘trail of breadcrumbs’ to the original work. The app’s rap lyrics are derived from Shakespeare’s insults, and his characters’ amorous exchanges. It challenges users to spot the difference between the Shakespeare rap and those of modern hip-hop artists.”

What British Dramaturgs Do


“While every major theatre in Germany has a whole department devoted to the function and a practitioner assigned to every production, in British theatre the dramaturg has been a comparatively rare beast. Until recently.”

How A Theatre Season Can Come Together To Support – Or Ignore – Diversity


“There are hundreds of priorities to balance in the process of planning a season. The decisions we make reveal the hierarchy of those priorities. It is the season, not the mission statement, that expresses what we believe in, what we fight for, what we privilege right now, in this moment. A season is an expression of our values, both personally (as leaders) and institutionally. Whether we want to acknowledge it or not, this is the bottom line. A season does not ‘just come together.'”

Ten Agatha Christie Plays Discovered


The ten plays – five full-length and five one-act works – were discovered by producer Julius Green while researching a book about the author’s work in theatre. He heralded the find as a “forgotten piece of theatre history”.

Reporter Wants More Impact For His Blockbuster Story, So He Turns To Theatre


“Assassination Theater, now in a run at the Museum of Broadcast Communications, is a provocative multimedia history lesson dressed up as a docudrama. An engrossing, rapid-fire exposé of “Chicago’s role in the crime of the century,” with tourist-attraction aspirations, it seeks to build on the dicey thing our city’s best known for but usually tries to ditch—its legendary status as a hub of organized crime.”

When Wildfire Smoke Pours Into Town, The Shakespeare Festival Has A Problem


“Each evening, a couple hours before shows begin, the smoke team gathers in the Festival’s outdoor theater, armed with a weather forecast and other pertinent information about the air quality. The team uses the old standard ‘Can we see the mountains across the valley?’ trick, in addition to objective data from Oregon’s color-coded smoke reports, an air quality station on top of one of the theaters, and a handheld monitor that gives real-time measures backstage.”

A Quarter Of A Century With L.A.’s Fountain Theatre


“Located between Western and Vermont avenues, the Fountain is at a crossroads of multiculturalism. ‘We’re right in the heart of Little Armenia, so it feels very natural for us to be commissioning playwrights to go out into the community and bring back the stories of the shop owners and apartment residents, as we did in ‘Little Armenia.’ Our process for choosing projects for a season is about what community haven’t we served and what issues are they wrestling with.'”

Ten Lessons From The Theatre World On How To Start A Diversity And Inclusion Program Without Screwing It Up

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“4. Walk through the entire program through the lens of those you are inviting into your theatre or organization. What would you see? What would you experience? What does it feel like to be as a person of color and walk into your institution? An easy way to feel tokenized is when you are the only one at an institution.”

Manhattan Theatre Club Attacked For Lack Of Diversity


The season, announced piecemeal since December, includes Sam Shepard’s “Fool for Love,” David Lindsay-Abaire’s “Ripcord,” Richard Greenberg’s “Our Mother’s Brief Affair,” John Patrick Shanley’s “Prodigal Son,” Nick Payne’s “Incognito,” Nick Jones’s “Important Hats of the Twentieth Century” and Florian Zeller’s “The Father.” But anger about the choices didn’t bubble up until this week, after American Theatre magazine noted the roster in a straightforward post on its website.

Bill Rauch: What It Takes To Be A Leader In The Theatre

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“I think leadership is lonely and leadership is frightening, and just the nature of the nonprofit structure is hard, so there is going to be a lot of struggle. And I think that does make it difficult for leaders to be open and be generous. But I do think all art is rooted in love and if you’re not leading from a place of love and generosity than you’re not actually modeling in your process, and what we all need to model in the art.”

How ‘Hamilton’ Recasts Thomas Jefferson As A Villain


Which a show with Alexander Hamilton as its hero would do, of course. “If Hamilton is the 99 percent, Jefferson is, in the show at least, the one percent. If Hamilton is Barack Obama (who told Jon Stewart he thought the show was ‘phenomenal’), Jefferson is Mitt Romney.”

Cirque Du Soleil Plans $25 Million Broadway Show

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“The company, which has been acquired by a group of private equity investors, said that the production, to be called Paramour, represented one step in a broader effort to expand its presence in New York and in the world of theater. … [They also] said it would run indefinitely after opening next spring.”

Former National Theatre Bosses Nicholas Hytner And Nick Starr To Open London’s First New Theatre In 20 Years


“While there are 17 other theatres of comparable size (800-1,099 seats) in greater London, with 15 of those in inner London, the new building would be the first large-scale theatre in the heart of the capital since the erection of Shakespeare’s Globe in 1997, and the first large-scale commercial playhouse to be built since the New London was created in Drury Lane in 1973.”

America’s Theatres Are Looking At Leadership Changes


“Leadership turnover is coming to America’s regional theaters. When Theater Communications Group — a service organization for the country’s nonprofit theaters — recently surveyed its members, 30 percent of the respondents indicated that their artistic leaders had been in place for two decades or more. About the same number said they anticipated a change in artistic leadership within the next five years.”