Theatre

“In a field that so far has relied largely on show-by-show contracts for intimacy directors, a salaried position with benefits is a significant step. … ‘It confirms that the company has made a promise to keep their actors emotionally and mentally safe — that they have made that a priority.'” – The New York Times

Despite his success with revisionist productions of Tennessee Williams and Arthur Miller plays, Ivo van Hove seemed an unlikely choice to direct a major revival of the Bernstein-Laurents-Sondheim musical. Even less likely was the selection of austere formalist Anne Teresa de Keersmaeker to choreograph the first production whose dance wasn’t based on Jerome Robbins’s exuberant movement. Yet their participation was blessed by Stephen Sondheim, the only one of the show’s creators still living. Writer Sasha Weiss spent several months watching them cast and develop the production — and then rework their ideas (in one notable case, at the cast’s insistence). – The New York Times Magazine

“From an African girl who was ‘gifted’ to Queen Victoria to a slave who took on his master in a British court, several little-known but remarkable chapters of black British history are being put in the spotlight on stage this year.” – BBC

“I am also interested in consent, by far the least attended to aspect of the play, which we encounter in the especially difficult junction between sexuality and trauma. At this strained intersection, consent is revealed at its most impotent, impossible to help clearly adjudicate desire.” – Los Angeles Review of Books

The show, The Truth Has Changed, tells of Josh Fox’s anti-fracking work and what he describes as “incessant harassment” from the gas and petroleum industries. Fox says the issue was the content of his show; he is the show’s writer, actor, and co-director. The Public begs to differ, saying that the show was shut down following Fox’s refusal to abide by the Public’s Code of Conduct – and, more specifically, “a series of verbal abuses to the staff.” – The New York Times

“When it comes to acting, neurodiversity — a term embraced by many people with intellectual, social and other disabilities arising in the brain and nervous system — involves more barriers and engages more prejudice than even physical challenges do.” Jesse Green writes about one case where an actor changed his conception of autism (perhaps it’s a sort of dialect) and another where a performer with Tourette’s syndrome seems “an ideal interpreter” of one of Beckett’s most challenging scripts. – The New York Times

“If we don’t reinvent drama training to reflect the different needs of students from much more diverse backgrounds – and that includes those from disadvantaged socio-economic backgrounds – it’s like holding the door open so that they can get in the room, then blaming them when they leave quickly because they feel uncomfortable or can’t afford to stay.” – The Stage

What’s worth saying with certainty is that there needs to be more opportunities for musicals to be developed and showcased outside the auspices of commercial or not-for-profit producers, with development that benefits the work and the artists first and foremost, rather than a financial imperative or looming production deadline. – The Stage

The glasses are aimed at D/deaf audiences and offer personal captioning, flashing the production’s dialogue in front of the wearer’s eyes as the actors say it. They were developed by the NT and introduced in 2018, but will now be used at the London Short Film Festival for screenings of works by emerging directors, including Maxine Peake and Lena Headey. They will be used across four screens at the BFI Southbank. – The Stage

Relaxed performance — an approach to performance that challenges what have developed as strict expectations and codes for audience and performer engagement and behaviour — is making theatre and other types of live performance like fashion shows and musical events more accessible. – The Conversation

“Some grew up functionally bilingual, while others had to learn English from scratch. All overcame linguistic, cultural, and a variety of other hurdles to translate their acts for an English-speaking audience, which can potentially take their act from quiet clubs to packed theaters. They addressed a variety of topics, including the beauty of foreign accents, how American and British audiences are simultaneously more and less approachable, and why Germans aren’t exactly known for their sense of humor.” – Vulture

“[Clive] Davis has more than thirty years of journalism experience, and was a regular freelance writer for The Times and The Sunday Times covering music, radio, theatre, comedy, and contributing op-ed columns. His other work has appeared in The Independent, Daily Express, New Statesman and Weekly Standard.” – News UK

What’s more, he triumphed, and in a production that ran for at least a year longer than anyone expected. The actor is Steven Skybell, who talks with Laura Collins-Hughes about playing Tevye in Joel Grey’s Yiddish staging of Fiddler on the Roof. – The New York Times

“One tweet claimed Cats was so bad it must have been made by the dog lobby. As a lifelong cat lover, I don’t regard this film as an insult to cats. Yes, the production is over-CGI’d, but there is Rebel Wilson’s earthiness and James Corden’s comedy; both succeed in playing it for laughs.” – The Guardian

The questions facing the National Theatre reflect the broader themes of British politics right now: elitism, identity, diversity. In the half century since it was founded, the National has always commissioned plays that represent the “state of the nation,” tackling everything from the privatization of the railways to the Iraq War. “The National Theatre repertoire is a time capsule for the socioeconomic condition of Britain at any moment.” – The Atlantic

Christopher Acebo, who spent 14 years working with the Oregon Shakespeare Festival, starting the Latinx Play Project and and helping found the Latinx Theatre Commons, says the only way forward is through serious commitment to equity – extending the invitation to underrepresented groups in theatre, and following through. – Oregon ArtsWatch

Debts, staff resignations, and what the board described as a “national arts funding crisis” meant that the festival – which premiered more than 400 musicals in the summer, some of which made their way to Broadway – not only shut down immediately, but also declared bankruptcy. The artistic director and other staff had been working without pay since August and said they were not informed in advance of the board’s decision. – The New York Times

“The last 10 years have seen a boom for black British playwrights, actors, artistic directors and others in the industry. What has changed on and off stage – and what’s next?” Eight Black theatremakers offer their answers. – The Guardian

Children see naturally because they have not already stored up and processed information about how they are supposed to categorize what it is that they are looking at. They puzzle through, notice and work out each detail with a freshness that radiates both spontaneity and play. As we grow older, many of us lose our ability to see and we begin to accept the assumptions that have accumulated while looking.  – SITI

Passion for artistic freedom is ballasted by a concern for the economic welfare of artists. Whatever excitement the future holds for the American theater, it’s thanks to artistic leaders likes these whose ethics have been as forward-thinking as their aesthetics. – Los Angeles Times

“In the course of a writing life that spans 60 years, she’s changed the dramatic landscape of two centuries, and evolved more than any other British playwright our conceptions of what a play even is. She’s even changed the way we write them down.” – American Theatre