“It’s a show where you’re always thinking about the other people onstage. … Everyone is both lead and chorus, and you really can’t have an ego because it requires five minds to work as one.” - The New York Times
“A brief statement from the show , which earned seven Tony nominations this month, said that it had decided not to perform at the library ‘upon learning of the termination of Dr. Carla Hayden.’” - The New York Times
“It transformed, for better and worse, audience expectations at museums worldwide. … It taught curators to propound a global view of art — or perhaps no view at all. Its influence ripples through the rethought MoMA — but also the selfie stations of the Museum of Ice Cream.” - The New York Times
“A turning point was a project with the artist Cecile Abish, who uses a wheelchair: ‘To get to the garden we needed to take her through the museum’s basement and out through our loading dock. … It threw into sharp relief how urgent this work was.’” - The New York Times
The space near the OSF campus “featured a raised stage area, intimate seating in-the-round on folding chairs, and ample shade from the surrounding trees. It served as a natural, open-air theater that felt both rustic and inviting” - and COVID-19 safe. - Oregon ArtsWatch
Or at least, that’s what creator Amy Sherman-Palladino (the force behind The Marvelous Mrs. Maisel) wants to see. “Ballet isn’t something for someone else. It’s storytelling; it’s athletic; it’s powerful, emotional, transporting. It’s a great, dynamic art form.” - The New York Times
“Based on recent ticket sales and Visitor Center website traffic, … the formula has proven to work in Philadelphia. … While Philly tourism and theater attendance have been down compared to 2019, Amy Murphy, Arden Theatre’s managing director, said TKTS is already paying dividends.” - The Philadelphia Inquirer (MSN)
“The president has gone beyond rhetoric, moving to challenge or seize control of history-related federal cultural institutions including the Smithsonian, the National Park Service and the National Endowment for the Humanities.” - The New York Times
“It’s not that these are great pieces that happen to be long; the length itself is the point. The language – ‘endurance’, ‘epic’, ‘marathon’ – is that of extreme sport. Test yourself, we’re implicitly urged. … In that moment, an act of artistic engagement … becomes solipsistic and a self-congratulatory cultural flex.” - The i Paper (UK)
The 18-to-25 demographic isn’t usually considered a target audience for a circuit where tickets are so expensive, but the last couple of seasons have seen productions of shows deliberately aimed at that age group. It seems to be working. - The Guardian
"His legacy, like his life, is one of contradictions: he was a radical socialist and hugely successful businessman, who made wallpaper for Queen Victoria; a passionate champion of craftsmanship and workers’ rights, whose designs have become a template for mass-produced tat.” - The Guardian (UK)
“At first, these outlets seemed good for dance. … They could expose dance to larger mainstream audiences. They could help democratize an industry infamous for subjectivity and selectivity. … (Yet these benefits) became less potent over time. ... And social media’s negative effects can hit dancers with particular force.” - The New York Times
“Dance has always been more fragile as an audience draw; we are so keenly aware of that and are always trying to build bridges to help audience members find ‘their stories’ in our performances.” - Wisconsin State Journal (Internet Archive)
