“The cloak and dagger nature of trying to see a play in one of Europe’s most authoritarian nations is to be mirrored in the UK as part of Belarus Free Theatre’s 10th anniversary celebrations. Audiences will have no idea where they are going to see performances and post-show discussions being staged in a festival scheduled over two weeks in November.”
“Bombshell” did arrive on Broadway this week to a rapturous reception at the 1,700-seat Minskoff Theatre — but only as a one-night charity event in which members of the original cast reunited to sing and dance their way through the songbook created by Scott Wittman and Marc Shaiman. Tickets to the Monday night show had sold out in about an hour in April after a Kickstarter campaign raised $300,000-plus to defer development expenses.
“The Tony Awards really need kids. If the Theater Wing could find a way to give kids a routing interest by getting more of them in to see these wildly overpriced productions (I know, it does try to), then the Nielsen numbers would follow. Kids ought to be part of the television show’s focus — not to infantilize the telecast any more than it already is, but to trumpet the party innocently and joyously, and end it early.”
“Despite the Encuentro’s diverse programming, which featured 15 plays from the four corners and Puerto Rico, no Texas-based theatre companies were represented. On the surface, this could suggest that Texas is not producing the quantity or the quality of Latina/o theatre as other parts of the United States. But those of us working to historicize Texas theatre are providing other evidence.”
Michel Houellebecq’s “Elementary Particles “has nothing to do with Islam. But that didn’t stop [Dubrovnik] Festival organizers from removing it from the lineup when an analysis carried out by the Croatian Security and Intelligence Agency said it represented a serious security risk.” Well, they’ve changed their minds.
“Think about it: we (mostly) ask our audiences to commute to a particular location, step into a dark building, shut off all access to the outside world, be quiet, and not disturb us as we attempt (not always with success) to transport them to the world of a play that is—to hit on another tired trope —a reflection of the world we have asked them to ignore.”
There’s certainly a market opportunity. The global theater industry generates tens of billions of dollars in revenue each year. That puts theater in comparable territory to the global film industry, which according to the MPAA made $36.4 billion in revenue in 2014. Yet approximately twenty percent of tickets go unsold on Broadway, and about thirty percent go unsold in London’s West End, TodayTix says.
“Broadway Anglophilia is certainly not a new phenomenon. With its august tradition of theatrical excellence, Britain has long been exporting its top-tier thespians to our shores, and this talent has cultivated a taste for language tautly delivered and wit served extra dry. Yet the current wave of British stars stands apart from previous generations.”
“Off Broadway hit Hamilton and Tony contender The Curious Incident of the Dog in the Night-Time topped the 2015 Drama Desk Awards, with Hamilton taking seven awards including the title for new musical, and Curious Incident claiming six including the award for outstanding play. Broadway musical An American in Paris, one of the frontrunners in the Tony race with a dozen nominations, danced away with four trophies.”