Theatre

There Are Plenty Of Reasons I Don’t Need The Theatre. And One Reason I Do That Trumps Them All

Zipp! Duchess Theatre
Gyles Brandreth 
 Alastair Muir

“I am a reporter on The One Show on BBC One, where we get audiences of up to six million. At Edinburgh, the space I play seats 350 people. I am 67, I have six grandchildren, I have been an MP and a Lord Commissioner of the Treasury, I have books currently in print in 24 countries around the world; I don’t need this. But I’m doing it – for four weeks, with just one day off. Why? Because the Edinburgh Fringe changed my life.”

NEA Appoints New Director Of Theatre Program

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“Until spring, Greg Reiner was managing director of New York’s Classic Stage Company. He also served for four years as executive director of the Tectonic Theater Project and for seven years as managing director of the Actors’ Gang in Culver City, Calif.”

Broadway’s Hottest Show Is Pissing Off Tony Voters

HAMILTON - Public Theater/Newman Theater - 2015 PRESS ART - Okieriete Onaodowan, Lin-Manuel Miranda, Daveed Diggs, Anthony Ramos, and the company - Photo credit: Joan Marcus

“I can understand the impulse — they’ll be among the top three moneymakers, and that always looks good — but a rule of thumb in this business is, don’t alienate Tony voters,” a veteran press agent says. “You don’t want to look high and mighty.”

Disabled Characters And The Theatre – Some Considerations

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“Why is one considered a beacon of acting talent for playing a disabled character convincingly? Why is it a common expectation that these actors will transform into characters whose experiences they can never truly understand? And, perhaps the most important question: if able-bodied actors continue to be cast in these roles, what opportunities are left for disabled actors?”

Dramatizing Egypt’s Political And Social Issues With A Bedroom Farce

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Threesome, by Yussef El Guindi, “begins as a bawdy bedroom comedy whose main characters, a heterosexual Egyptian-American couple, invite a white American man into their bed. Over two acts it transforms into something darker, as all three grapple with the fallout of sexual assault, infidelity, war and the pain of lost hope, both political and personal.”

The Profound Effect Funding Cuts Will Have On Regional UK Theatre

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“The subsidised sector is without doubt the research and development arm of the commercial sector, where new productions, new work and new talent are developed. Ultimately, cuts of this magnitude would see the demise of the West End and regional touring as we know it, with far-reaching social, reputational, tourism and economic consequences.”

Peter Brook Returns To Mahabharata For New Theatre Piece

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The director and his colleagues who wrote and staged the nine-hour production that toured the world in the 1980s have returned to the ancient Indian epic for a work titled Battlefield. The four-actor staging opens in September at Brook’s longtime venue, the Théâtre des Bouffes du Nord in Paris, and will tour to London, three cities in Italy, Amiens in France, Singapore, Tokyo, and Hong Kong.

What Robin Phillips Did For Canadian Theatre

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“Many of this country’s finest directors (like Antoni Cimolino and Albert Schultz) learned their craft as young actors in Phillips’ finest days. Hundreds of performers credit him as a watershed in their creative existences. Offstage, he was a complex man who inspired intense emotions from friends and enemies alike, but no one who truly cared for the theatre could ignore the great good he did for all of us at a crucial point in the development of theatre in this country.”

Anna Deavere Smith Takes On The ‘School-To-Prison Pipeline’

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“As the term has gained greater currency – even the White House is using it – a belated spotlight has fallen on one of the key contributors to mass incarceration in this country.” In her latest documentary theater piece, “Smith transforms herself into the experts and witnesses she has consulted, including the late educational philosopher Maxine Greene, Councilman Michael Tubbs from Stockton, Taos Proctor, [and] a Yurok fisherman and former inmate.”

‘An Evening in the Theater (Patti LuPone Just Stole My F@#king Cell Phone)’

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That’s the title of a song – written from the point of view of that unwise woman in the audience – recently posted to YouTube by composer Robert Maggio and lyricist Matthew Hardy. “I hope she doesn’t open my iTunes / My recording of Gypsy is Bernadette / And my Evita is Madonna / If she sees it, she’ll be really upset.”

How ‘Hamilton’ Found Its Groove

Hamilton
Public Theater/Newman Theater

Cast List:
Lin-Manuel Miranda
Carleigh Bettiol
Ariana DeBose
Daveed Diggs
Renée Elise Goldsberry
Sydney James Harcourt
Sasha Hutchings
Christopher Jackson
Brian d’Arcy James
Thayne Jasperson
Stephanie Klemons
Anthony Ramos
Leslie Odom Jr.
Jon Rua
Phillipa Soo
Seth Stewart
Betsy Struxness
Ephraim Sykes
Voltaire Wade-Greene



Production Credits:
Thomas Kail (Director)
Andy Blankenbuehler (Choreographer)
David Korins (Scenic Design)
Paul Tazewell (Costume Design)
Howell Binkley (Lighting Design)


Other Credits:
Lyrics by: Lin-Manuel Miranda
Music by: Lin-Manuel Miranda
Book by Lin-Manuel Miranda

“A lot of times in the past when you’ve seen hip-hop used in musical theatre, it has quotes around it. ‘How crazy! We’re making hip-hop musical theatre!’ We don’t comment on it. We just take as a given that it’s the best way to tell Hamilton’s story, but like any other musical score, Hamilton has his own themes that he uses. It’s Peter and the Wolf; it’s what Sondheim does. When you hear this music, you know Burr’s coming onstage; when you hear that music, you know King George is coming onstage.”

Why The Push To Require Paying Actors In Fringe And Showcase Productions Is A Terrible Idea

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“It’s been horrible to watch our otherwise splendid union’s desperate attempt to boost membership by pretending there was enough money to be made in 50-seat fringe venues to convert [unpaid] productions into paying jobs. And so many of us swallowed it, seduced by the absurd idea that closing down voluntary fringe collaborations in tiny makeshift theatres would lead to paid employment.”

The Problem With Children’s Theatre

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The most progressive theatres are not for children. They are for people. The most anti-oppressive theatre methodologies (benefitting children, youth, AND adults), will, quite simply, consider and include children as “persons;” members of civic society.

One-On-One Theatre (And Clean Dishes Too)

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The premise for Brian Feldman’s show, “Dishwasher,” is this: He will come to a person’s house, wash all of the dirty dishes, perform a monologue of the audience’s choosing and then conclude with a single question: “Am I a better actor or dishwasher?”

Ireland Gives Brian Friel His Own Theatre Festival

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“Details will be announced on Monday for the Lughnasa International Friel Festival which will have, at its heart, a production of one of Friel’s plays presented on both sides of the border in Donegal and Belfast. … The festival will be directed by Séan Doran, who is also in charge of the Samuel Beckett festival, now in its fourth year and due to open next week in Enniskillen.”

Tennessee Preachers Try – And Fail – To Stop Youth Theater Production Of ‘Rent’

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“In a scenario out of Footloose, a Tullahoma clergyman tried to unite local church leaders in opposition to a production of the musical Rent, performed by a mostly teen-aged cast. … [But] the only outward protest was a prayer circle of three to four people outside the theatre on opening night.” (includes Q&A with the show’s director)

Sex Workers Use Theatre To Campaign For Their Rights And Safety In Malawi

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“Through theatre, the women in the group tell their stories to the people who need to hear them most: police officers, brothel owners, clients, men. The audience gathers in a circle and, in the midst of them, the women act out a scenario where they have been abused or mistreated. They then invite their audience to suggest how the story could have played out differently.”

How To Get College Students Interested In Dramaturgy

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Don’t have a program: “There was no designated person whose function was to understand the world of the play, to speak up for the playwright and her intent, to argue for the sanctity of the script. That work struck me as vital. Every conversation I had about student theatre I would pull back to this lack of focus on the text. The text must be the crux of all discussion and choices in the theatre.”