“Mr. Duncan-Watt and his producers claim that Mr. Rockefeller stole the show, cut them out of any royalties and harassed and intimidated them. They are seeking damages from the run of ‘That Golden Girls Show!,’ which is scheduled through Dec. 31.”
The winner of the prize, which is given “in honor of Philip Seymour Hoffman, has been given to Aleshea Harris for her play ‘Is God Is.’ The prize includes $45,000, a weeklong stay at a retreat and the opportunity to put on staged readings at regional theaters across the country.”
“Even when the report appears to say the obvious, it’s useful to be reminded of the state of play. Particularly that there is a direct connection between supply and demand. Lots of people go to the theatre in London because there are lots of theatres and shows on offer, which are easily accessible in terms of transport links. Underserved parts of the country have seen a drop in attendances, sometimes dramatically, in recent years.”
The profound question being debated here — is consciousness no more than brain tissue and, if so, is altruism merely the product of evolutionary biology? — has brought Stoppard into public colloquies with scientists and philosophers investigating this quintessential 21st century conundrum.
“For most of two decades, Detective Sgt. Jake Gomborow was usually the cop on the aisle. … ‘Acting under instructions, I attended the performance [of a drama titled King Hunger] … on Saturday evening, December 6th, 1924. The acting in the entire play, aside from the few vulgar and sacrilegious remarks, was weird and gruesome, and in my opinion, the average audience in any theatre would have walked out before the show was over. My reason for not stopping the performance was because it is in its first American appearance.”
“The only criterion was that the plays should be around 3 to 5 minutes. By mid-August, 70 short plays had come in from the likes of Lindsey Ferrentino, Neil LaBute, Mia Chung, and Nathan Alan Davis. The plays will be presented in readings around the country … So far more than 40 theatrical institutions and universities nationwide and abroad have signed on.”
“[The projects’ founders] began reaching out to playwrights around the U.S. to see if they would write new short plays to add into the mix, and received dozens, including works from Neil LaBute, Dominique Morisseau, and Lynn Nottage. When [they] decided to put the idea on its feet in Missouri, they found that theatremakers from across the nation were interested in joining in.”
“When Russians were asked [in a survey] what they liked about Americans, they answered, in essence, ‘Not much.’ But when asked what Americans do well, oddly, one of the top answers was ‘musicals.’ (Russians obviously missed Spider-Man: Turn Off the Dark.) So America’s diplomats looked stageward for help and discovered Broadway Dreams, a decade-old nonprofit that runs week-long master-class programs throughout the United States and internationally.”
“Threats of lawsuits are flying, people have been banned from the theater, and the creative team is fomenting revolt. And it’s all over . . . billing. Don’t laugh. Billing on Broadway is as important as holding territory on the Russian front.”
“Five years ago, the small nonprofit theater company Ars Nova commissioned an up-and-coming composer to write his wacky dream project” – Natasha, Pierre & the Great Comet of 1812. “In a stunning and abrupt severing of an unusually close partnership, the nonprofit and the show’s commercial producers … are suddenly in a bitter battle” over three words in the show’s Playbill.
“The show, [in a staging] by a troupe from St. Petersburg, was to have been staged Nov. 1 in Omsk, Russia’s seventh-most-populous city. But a local group called ‘Family, Love, and Fatherland’ filed a complaint that the musical mocked religious faith.”
“In fact, to be a black writer is one of the most liberating things a person can be. I am black and I write about whatever I want – I always have and I always will. The only thing that makes a black writer feel limited is if others try to force their own definition of what it means to be black and a writer.”
“We believe in the power of imagination to transport audiences across the universe and everywhere in between, but we could do better to reckon with the technological abilities and limitations of our artistic spaces. How does the architecture of those spaces, of rehearsal rooms and theatres, subtly shape the stories we tell? And how might we acknowledge within our work that making theatre extends beyond rooms?”
“You’d think Amy Schumer fans would know where she stands.” But a couple hundred people in Tampa evidently didn’t. Said the comedian in a statement, “I want to thank the 8400 people who stayed. We had a great time! “
He’s bringing “Hamilton” To his London theatre. “I’m putting all my efforts into finding a better way of ensuring that the price originally set for a ticket remains the price you actually do pay. We’re going to stop resale except in genuine circumstances where someone is ill or can’t come and the only permitted resale will then be via the theatre.”
The theatre had intended to auction off experiences in the theatre – opportunities to work there – to the highest bidders. The theatre’s executives said they had set up the auction in good faith, but added: “Since some prizes have been misconstrued, we take responsibility for the misunderstanding.”
“Between now and the end of the year more than 30 plays will make their world premiere in Chicago, which makes 2016 particularly robust for a city that’s never taken its theater scene lightly but is increasingly taking risks with material the coasts won’t touch.”
“After years in the planning stages, next weekend’s grand opening gala will inaugurate the $119 million addition to downtown’s cultural core. It’s the second of three major theater openings in Utah planned this year, a building boom that’s unprecedented in the country.”
“A theatre should behave like a good host. It needs to have eyes in the back of its head, to pull people in and diminish divisions. These should be spaces where you feel at home at any time of the day.”
“Some of the nation’s leading regional theaters, saying it is essential to the art form that writers see work by their colleagues and predecessors, have a solution: They will offer free last-minute seats to their shows. Theaters from Atlanta to Seattle have signed on.”
“This isn’t about imitating Didion. This is about portraying a woman who is dealing with grief, and grasping for life. Facing unimaginable loss, she’s strong, vulnerable and fierce as she struggles to banish self-pity.”
“The protean actress and playwright has spent her career interviewing and then embodying people of different races and divergent points of view — ‘chasing that which is not me,’ as she put it in a recent interview. But her new play, ‘Notes From the Field,’ a prolonged meditation on education and criminal justice, is different.”
“Stephen C. Byrd and Alia Jones-Harvey are out to change the game on Broadway. The only black lead producers in that space, the pair runs a company, Front Row Productions, which has as its explicit goal to diversify the Great White Way. Among their credits: They brought Danai Gurira’s Eclipsed to Broadway last season and are currently working to bring both The Wiz and Black Orpheus to Broadway.”
Sonia Friedman: “And so for years and years, many great producers have tried and been thwarted. I just kept persisting, and anyone who knows me knows I don’t give up. I just kept trying to get the rights. I tried so many times and failed.”
Actor Finn Whitrock writes about the summers he spent with his parents at Shakespeare & Company in Massachusetts, and his he and his friends “would arrange five or six scenes from Shakespeare, rehearse them on our own time in the sun-drenched Berkshire afternoons and perform them for the adult company after one of their Mainstage shows.”
Jennifer Diaz, 34, “has made history, becoming the first female head carpenter of Local 1 of the International Alliance of Theatrical Stage Employees. The local’s 3,351 members work in spaces from the Met to Carnegie Hall, at Radio City Music Hall and Madison Square Garden, and in every Broadway theater – including the Walter Kerr, which is where she was one morning in September, overseeing the load-in for the musical Falsettos.”
He highlighted how surprised he was to see so many people in the West End on a Monday night, and added: “It’s the best September I can remember across my theatres.”
“Of 243 companies surveyed, 38% said the advent of live-to-digital has had a positive impact, compared with only 13% who said it had had a negative impact. In fact, an audience preference for live shows over the recorded alternative was found to be the biggest barrier to attendance of theatre broadcasts at cinemas. Just over half of those surveyed said their preference for live theatre put them off event cinema.”
Theatrical devices that can provide both a steady stream of rain and actual fire are expensive to rent, let alone buy. So the Wilma Theater’s crew designed and built one themselves.
“Hours before the performance Sunday night, the MESS festival announced it would allow only the festival jury to see “Our Violence and Your Violence” by Croatian director Oliver Frljić, an award-winning director whose provocative plays often criticize nationalism and spark protests. The play, which has a fairly abstract plot, contains scenes of nudity and rape.” But the ticketholders weren’t having it.