Theatre

In George Brant’s solo play Tender Age, actor Carlo Albán (whose parents brought him from Ecuador to the U.S. as a child) plays a Latino Texan who takes a job as a guard in a Brownsville Walmart-turned-detention center for children who’ve fled Central America. Peter Marks travels to the O’Neill Theater Center to see the play in development. – The Washington Post

“[The 77-year-old ex-Beatle] will write music and lyrics for the project. Lee Hall, author of Billy Elliot and screenwriter for the recent Elton John biopic Rocketman, is also writing lyrics and the show’s book.” – The Guardian

“Why would anybody want to go? It’s inarguably among the most prestigious collections of stage actors in the world and yet membership comes with no formal minimum participation requirement. … However, two sources close to Steppenwolf said that there was no love lost between the actress and the current artistic administration, although Plimpton had wanted to keep her action as private as possible.” – Chicago Tribune

“In a comedy club, you can go nuts and go off and be funny, but you can’t really get emotional, you know? The crowd is there to get in a rhythm of set-ups-and-jokes with you. They don’t really care about stories — stories that last a whole show, I mean. In a theater, though, jokes are not enough. You better have a story, you better have a point. I loved the energy and immediacy of comedy clubs. You can see why it’s so addictive. But you get to a theater, people don’t let you slide.” – The Philadelphia Inquirer

“[The worrisome development is] the recent decision of leading Scottish newspapers and magazines to slash their coverage of the festival in half. Coupled with the dwindling size of the annual contingent of London critics, the threat to the ecology of the festival is real.” – The Observer (UK)

Performers from multiple Broadway shows gave impromptu renditions to crowds along the streets outside the theaters when the power went out in Manhattan Friday night just before shows were about to start. – Washington Post

When a team decided to adapt Sue Monk Kidd’s 2002 book The Secret Life of Bees into a 2019 musical, and the only African American person on the production team was playwright Lynn Nottage, well, they knew they had some discussions ahead of them. Nottage says, “What makes this very different from those other stories [like The Help or Green Book], is that this white girl enters into a black space, and she has to negotiate a space that’s alien to her, rather than the black body entering the white space.” – NPR

Theatre criticism, like every other kind of critique in the age of the internet, appears to be booming, but that’s not really true. “How is the average theatregoer to sort quality from digital noise and (perhaps more importantly) support those who create high level critiques? Education is key—not just for the would-be theatre critics but for audience members in general.” – Howlround

That’s the idea of the search, truly. Historian Geoff Marsh “concluded from cross-referencing various tax and leasehold documents of the time … that the playwright – then in his early 30s – almost certainly lodged in St Helen’s Place, Bishopsgate, just south of Liverpool Street station. It was one of the City’s more affluent parishes, and he would have been living among well-travelled physicians, merchants, lawyers, musicians and writers.” – The Stage (UK)

Alfaro met a 13-year-old promising playwright in 1999, but she was in a program for felons: She had killed her mother, who had put a hit out on her father. Then he started re-reading Electra, by Sophocles, and it hit him – he could retell Greek tragedies, but set in Chicanx and Latinx communities in Los Angeles. “‘The Greeks are so primal,’ Mr. Alfaro said. ‘They get to the essence: why we hurt each other, this inability to forgive.'” – The New York Times

The critic for the St. Louis Post-Dispatch: “The way I look at it, there are people who just wanna see a show, and there are theatre people. There’s some overlap between those two groups, but not a lot. Some people want to see a big, bombastic play, an Aladdin, and they’re not looking to see No Exit.” – American Theatre

“It can be fraught and isolating, it seems, portraying a white character activating the racial overtones of a beloved novel brought to the stage. Just ask Fred Weller, essayer of Bob Ewell, the patently evil father of Wilhelmi’s Mayella, who forces her to concoct the story that sends a blameless black man, Tom Robinson, to prison for rape.” – Washington Post

“Typically, show music was cut down and rearranged for a popular dance band. But [Decca president Jack] Kapp had no time for such niceties” — he was rushing to get a recording of the hit show to market after a long musicians’ strike — “and the musical’s full Broadway orchestra was brought in to accompany the performers. There had been a few, somewhat limited, cast recordings before, but Decca’s improvised innovation came closest to capturing the full experience of attending a Broadway musical.” – The New York Times

The Rodgers and Hammerstein Organization was willing to let Daniel Fish, director of the revisionist revival now on Broadway, experiment with the way the story was told but forbid any changes to the songs’ melody, rhythm or harmony. So why is this duet’s effect so different? Jesse Green breaks it down. – The New York Times

This month alone, there will be live readings of the report from theatre companies in Los Angeles and Washington, D.C., starring actors like Alfred Molina and Harry Groener. – American Theatre

The composer will become the only living person to have a theatre dedicated in their honour in both the West End and on Broadway, which is already home to the Stephen Sondheim Theatre. – The Stage

“Whether the religious creeds of our childhoods helped or harmed us, whether we retain or reject them as adults, “something inside of us” is what those teachings remain: a language we’ll always speak, because it was one of the first that we learned. Echoed in a playwright’s work, it’s instantly, almost instinctively, recognizable.” – The New York Times

Wendy Rosenfield travels to the International Association of Theatre Critics gathering in Montpellier, shares stories with colleagues, and realizes how much she didn’t know. – Broad Street Review (Philadelphia)

“Currently, Mexico is going through a change of government, which has reduced the national budget for culture and has been removed a lot of art scholarships. On top of this, more and more states are moving away from the idea that arts hubs need to be in the capital cities, which is encouraging smaller communities across the country to create their own theatrical markets.”  – Howlround

Tree, inspired by Elba’s 2014 “character album” Mi Mandela, is debuting this week at the Manchester International Festival before a run at London’s Young Vic, where Kwei-Armah is artistic director. The current script is by Kwei-Armah, but Tori Allen-Martin and Sarah Henley argue that they worked on a script for four years before being “pushed off” and “bullied and silenced.” Kwei-Armah claims — backed up by Elba, MIF and the Young Vic — that, following workshops, the Allen/Martin-Henley script was not “artistically viable” and that they were unwilling to meet with Kwei-Armah to “discuss the future of the show.” – The Guardian

“The production was staged by the Gogol School theatre lab during the Tavrida Festival, an annual art event organised by Russian state youth agency Rosmolodyozh. Reaction has been mixed, with some praising the audacity of the director, Ilya Romashko, and others calling it pure provocation. Given Russia’s 2013 law banning the spread of ‘gay propaganda’ among under-18s, the festival’s organisers have since issued an apology.” – BBC