There’s been some talk lately of the Greek capital becoming the next Berlin – a large-and-low-priced city where artists can afford to settle and work. The arrival this year of Documenta – the first time the super-hot art shindig has left its German hometown – was expected to legitimize Athens’s standing as a contemporary art center. But the locals aren’t having it.
“The editor-in-chief of The Walrus resigned late Saturday after mounting criticism, including from some of the magazine’s own contributors, for his role within a swirling controversy over the toxic subject of cultural appropriation.”
The Orchestra hasn’t had a series on national radio since 1990. Now ,”starting with a broadcast Monday night and continuing three times a week for at least the next year, concerts recorded in Verizon Hall will be carried on SiriusXM radio, a paid service with a monthly fee, to listeners across the U.S. and Canada.”
They’re not happy with the Tories’ discussion of forcing non-British EU members – who make up a considerable number of their coworkers – to leave. “We are appalled that the government should use those who have made considerable personal and professional commitments to this country, and who enrich our culture, as a negotiating chip. This is not the behaviour of a civilised society.”
Pretty OK, it seems. “Some regulars love the Met so much that they don’t need new enticements. Melinda Fuller, an art teacher from Connecticut who has visited the Met more than 50 times, excitedly said on her way out of the museum that she had just signed up become a member. She volunteered that she’d be willing to pay $30 for admission.”
Shockingly, not The Crown – though a show of the actual Queen’s 90th birthday party did win an award.
Things have changed, a lot. “After a decade of audience erosion, including double-digit declines for the vast majority of shows this season, networks have finally accepted reality: People aren’t watching the TV the way they used to, and selling commercials isn’t enough to pay the bills (and make a big profit).”
Octavia Bürgel: “My mother, the art world, and I function as an ever-evolving trio, and while my mother and I each require the other two to sustain, I cannot say that the art world has needed me for anything.”
At the Oregon Shakespeare Festival this year, the role of Hotspur is played by Alejandra Escalante, and it works brilliantly. “She’s too much. She’s too blunt and too loud and she never stops talking. She knows what she’s worth, and she’s worked hard to prove it, but these days that isn’t enough anymore. Now everyone says she needs to be quieter, needs to be gentler, needs to not be the things – aggressive, impulsive, passionate, utterly wholly constantly sincere – that have helped her claw her way to where she is. Which Shakespeare heroine? Why, Harry Percy.”
My Mother’s Art of Places
All my life, my mother has been showing me the power of art to create the places where we love to go, the places that stick with us, the places that create memories. She’s … read more
AJBlog: The Bright Ride Published 2017-05-14
Who pays The Ferryman? It’s complicated.
Paddy Considine and Laura Donnelly. Photo: Johan Persson The hottest new play in London has got the maximum 5-star rating from half a dozen of the national newspapers; its West End transfer was assured … read more
AJBlog: Plain English Published 2017-05-12
In today’s Wall Street Journal I review the world premiere in New Haven of Amy Herzog’s Mary Jane. Here’s an excerpt. * * * Plays whose subjects can be summed up in one word—abortion, divorce, … read more
AJBlog: About Last Night Published 2017-05-12
It’s partly because, unlike most e-readers, print books can be fetish objects. “Publishers’ production values have soared and bookshops have begun to fill up with books with covers of jewel-like beauty, often with gorgeously textured pages. As the great American cover designer Peter Mendelsund put it to me, books have ‘more cloth, more foil, more embossing, page staining, sewn bindings, deckled edges.'”
Basically, says a theatre-maker who had the experience and then did the research, theatres doing what she calls lesser-known work “must paint a detailed picture of the experience with information that appeals to both the practical and adventurous sides of our audience members.”