“Tutors at both drama centres have raised their glasses in anticipation on the eve of the ceremony in California and are ready to toast the theatrical tradition that prepares actors to work at the highest level.”
“First, the theatre-makers must ensure they reflect those communities. Second, they need to be trained to work alongside the communities, to channel their lived experience into art, with skill and authenticity and often for community members themselves to perform. And third, the whole theatre industry needs to be open to members of different communities becoming new theatre artists themselves, and commit to supporting and encouraging that.”
“Khan Bonfils, who played key villains in two recent James Bond films and Jedi master Saesee Tiin in Star Wars: Episode 1 The Phantom Menace as well as the King of Siam in the 2000 revival of The King and I at the London Palladium, collapsed during rehearsals for the Craft Theatre Company’s upcoming production at The Rag Factory.
“Instead of our crafting a list, which invariably will leave off names that others feel should be included, an Edit-a-Thon empowers anyone to jump in as an editor. It allows all of us to fulfill a New Year’s resolution to make greater strides towards diversity and parity in American Theatre in 2015.”
Matt Trueman: “Theatre – and I write this with admiration and awe – is full of freaks and weirdos. Brilliant freaks and weirdos, yes, but freaks and weirdos nonetheless. Birdman totally gets that. … It nails that slippage between on- and off-stage, between fiction and reality; the way a play can bleed into an actor’s life … and appreciates the catatonic terror of stepping out in front of an audience.”
He had his first successes in made-for-TV plays, but once shows like Playhouse 90 ended, he was unable for decades to get theaters to consider his plays. Even his lauded screenplays for To Kill a Mockingbird and Tender Mercies didn’t help his theater career. How did he find the strength to keep at it?
“The Théâtre de la Ville and the Théâtre du Châtelet … will close for extensive renovations at the end of the 2016 season, darkening the houses for one and a half to two years. The theaters, which face each other on the Place du Châtelet, next to the Seine in the heart of the city, were designed by Gabriel Davioud and constructed between 1860 and 1862.”
“Art was done the same way for a long time — you were young, you came, you watched a lot of other people and you started to struggle to make your own work, and eventually people came to see you and you made a little bit of money. Now that economic structure is totally broken. Young people only go to see a few other people; they only go to see people whose careers they want to emulate. And they mostly stay within their own age group. So you have tons of people who are all 22 who make their work with other 22-year-olds. You can’t get much mileage out of that. You need the inter-generational thing, I believe: the energy of the young and the wisdom and experience of the old.”
“For all the changes that have come to Broadway, where the only thing more drastic than the astronomical ticket prices are the astronomical rents for apartments in the area, the Whitby has largely remained a bastion for performers and their patrons. But rather than being a haven for struggling artists, the building is now much more a home for successful ones.”
“The Broadway League said Monday that shows on the Great White Way pulled in $40,993,950 for the week ending Sunday, better than the same week last year when 30 shows attracted $38,783,854. Attendance also went from 290,386 in 2013 to 318,721 this year, with crowds taking advantage of mild New York weather and Christmas falling on a Thursday.”
“As holiday traditions go, the play Burning Bluebeard doesn’t exactly seem like a natural: no Cratchits, no elves, no Grinches, no sugarplum fairies. Its place in the season is all about timing. It’s based on the real-life story of a fatal fire that happened in the week between Christmas and New Year’s Day – and it’s told by clowns.”
“It depicted what to me was a fantasy as attractive as any I’d ever seen: that you could be in your twenties, living in New York City, surrounded not by the family you’d left behind but by the ones you’d made. That you could pursue above all else art and love. At its end, I leapt to my feet in applause.”