Electra’s Sorrow And Rage, Explored In Cabaret

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“Each major character in Ann Liv Young’s Elektra Cabaret tries to break the tragedy with a different emotional code. All of us at times react sorrowfully like the wounded Elektra, cruelly like the controlling mother Klytemnestra, vindictively like the raging prodigal son Orestes, or vacuously like the denying younger sister Chrysothemis.”

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What’s Actually Happening With All Of The Sudden Departures At Shakespeare & Company?

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“After decades of stability and growth, Shakespeare & Company has — in the last seven months alone — exiled an artistic director and lost an executive director before his first season was produced, actions followed in short order by the resignation of its top trustee. The word ‘interim’ now litters the company’s artistic and administrative flowchart, and the theater’s founder, Tina Packer, seems as befuddled as anyone.”

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Why It’s No Good Blacklisting Theater Critics From Shows (According To A Theater Critic)

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Lyn Gardner: “While the producers of any show may argue that as it’s their party, they can invite whoever they want, the principle of extending invitations across the board to established newspapers and reviewing outlets is a sound one. Trying to exclude particular reviewers is not – if for no other reason that it makes that individual critic seem more important than they are and hints at, if not outright censorship, than at least an over-developed desire to manipulate coverage and ensure good reviews all round.”

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25 Years Of Playing Mayor LaGuardia Onstage

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When Tony LoBianco starred in a one-man show about New York City’s 99th mayor on Broadway in 1989, the production closed after 12 performances. Then the actor started rewriting the script, kept at it, and now has spent a quarter-century taking the piece, now titled The Little Flower, everywhere from Manhattan to Moscow to Milan.

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How Theatre Makes A Difference To An Escaped Child Soldier

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“If others can relate to this story, maybe they will begin to dream about peace on Earth, a planet where no child suffers unnecessarily from a war for greed, or a mania for power. It can be. At the least, the spectators may find some level of emotional detox themselves, from whatever ails them.”

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Actor-Playwright Gets Naked To Give France’s Culture Minister A Dressing-Down On Live TV

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At the award ceremony for the Molières, the country’s top theatre honors, Sébastien Thiéry came onstage completely nude to scold Fleur Pellerin: “Do you know, madame minister, that playwrights are the only ones in the profession not to have the right to receive unemployment benefits? Do you think that’s fair? … Why this discrimination? Is it because we are physically ugly?”

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Athol Fugard Explores Life Of One Of South Africa’s Great Outsider Artists

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“Five years ago, Athol Fugard, the great chronicler of South Africa’s apartheid past and its post-apartheid present, heard a surprising tale. It was about a farm laborer named Nukain Mabuza, who had spent about 15 years, in the late 1960s and ’70s, painting vivid, highly patterned designs on the boulders and stones in arid terrain of the eastern province of Mpumalanga.”

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Musicals Dominate Tony Nominations

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“Three wildly different new musicals, ‘An American in Paris,’ ‘Fun Home’ and ‘Something Rotten!’ were showered with Tony nominations Tuesday morning, setting up one of the toughest choices for Tony voters in years.”

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Can L.A.’s Small Theaters Afford To Pay Their Actors Better? Can They Afford Not To?

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Charles McNulty: “Producers have built flourishing shoestring operations on the backs of virtually unpaid actors. If the majority of performers aren’t complaining, why should their union interfere? … That’s not the way I see it. I believe that the union is concerned about the future of Los Angeles theater, recognizing that institutional growth over the long haul is in the best interest of its membership. Only time will tell whether L.A. is capable of such growth.”

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Shakespeare’s Plays Show That His Attitudes Toward Women Evolved

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“Something happened, somewhere around Love’s Labour’s Lost and the early history plays and going into Romeo and Juliet. Either he fell in love or he just grew up, but something happened to him where he suddenly ‘got it’ about women and there was a profound shift in his writing.”

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