“Apparently, being the youngest person in television history to host her own talk show wasn’t enough. Actress Keke Palmer will be making history yet again when she takes the Broadway stage in the title role of Rogers & Hammerstein’s Cinderella,” beginning Sept. 9.
The Coconut Grove Playhouse shut down in 2006 during its 50th anniversary season. It was $4 million in debt. The county has a plan for a small theatre to replace it. But Mike Eidson has a bigger idea: “a civic center dedicated to great theater in a modern playhouse complex would be a tremendous amenity and asset. . . . It sends a powerful and indisputable message to people who want to live and invest here that we are a serious, maturing city.”
“This play, this theatre, this audience will never make it into a national study about ‘diversity in theatre.’ Their productions, audience, playwrights, existence are not considered important enough to include because of the size of their budget. Their work, like the work of indie theatres all over the country, is invisible. But those audiences are having an intense, emotional, moving, unique, life-changing theatre experience. It’s not happening in New York, and it’s not happening in a 20 million dollar a year LORT, but it IS happening.”
“Alfresco settings have their advantages – the fireflies, the moon, the breeze – and their complications, too: the bicyclists, the boomboxes, the gaze of raccoons that live just below the Delacorte’s stage and often scamper on. The Times asked performers, producers and directors to talk about the perils and pleasures of acting under the sky.”
“Death is easy, but for a good eye-gouge, Broadway directors call Rick Sordelet. … A top purveyor of staged mayhem, Mr. Sordelet has created fistfights, sword duels, stabbings and gunplay for some 60 Broadway productions – as well as Hollywood films, the Metropolitan Opera, the 1995 Super Bowl halftime show, and Ben Hur Live.”
“In 2012/13 more than 22 million people went to a London theatre performance and £618.5m was taken at the box office. London cinema admissions totalled 43 million, meaning the average ticket price would need to be more than £14.40 – which it is not – for cinema to have a bigger box office figure than theatre.”
“It always locks in with the design. If you’re doing an ambient scent, really what you’re making is a part of the set that’s invisible. For that, you really want to work with the set and lighting designer to talk about what is the space — what kind of place do we want to evoke? As a scent designer I am supporting them in that — adding an extra dimension to what they’re trying to do.”
“I was listening this morning to a Norwegian doctor who’s been in Gaza and working in a hospital in Gaza, risking his neck and going through a kind of unimaginable hell. And I was thinking, well, he’s there because of Ibsen. He wouldn’t be there if that man had not influenced his society in such an extraordinary way.”
“I’ve always felt that Krapp is an autobiographical piece. You do feel, all the time, that it’s Sam saying, ‘There but for the grace of …’ For me it’s a kind of essay in aloneness – and an essay on self-deception, too, which Krapp is well aware of. He is like any addict. One side of him says ‘I shouldn’t do this’ and the other side says ‘But I’m going to – and what’s more you know I’m going to’.”
“Done well, jukebox musicals, which are by nature about popular music, can have great music and dramatic insight, too. I propose that we stop being embarrassed by them, and I hope that producers and librettists continue to make the genre better. Great pop music can be celebrated well and enjoyably.” Sarah Lawson explains how, with examples.