“It doesn’t matter what Isaac Hernández’s skill set is, he will be the dancer that got to where he is because his girlfriend is also his boss. Ms. Rojo is the AD who gave prominent roles to her boyfriend and the management at [English National Ballet] are the ones who left a publicly funded dance company open to litigation from dozens of dancers claiming discrimination or constructive dismissal because the boss is sleeping with one her dancers. Should their relationship go south, which of course never happens, …”
None of the Asian-style gongs that Puccini could find in 1920s Italy had just the sound – more precisely, the pitches – he wanted. So he had a set specially fabricated. Of course, Puccini died before the opera’s premiere, and the gongs slipped people’s minds afterward. But not everyone forgot.
“The point is that practice makes perfect – in theatre as in emergency situations. We rehearse for both, and ‘lockdown’ drills preparing children for the threat of active shooters are on the rise in American schools. Breach [Theatre’s] new show, The Drill, questions the effectiveness of such procedures. It asks whether playing out attacks increases rather than diminishes their potency.”
“We are writing to affirm the leadership role of cultural institutions in advancing cultural and social as well as political public discourse. As stewards and advocates of contemporary and historical cultural expressions, we directors, curators, and staff members of cultural institutions, as well as the board members to whom we are accountable, have a particular obligation to facilitate the free and safe exchange of ideas about our contemporary world with art as the catalyst.”
Annihilation will still hit screens in the world’s two biggest markets—the U.S. and China—but the Netflix partnership is an unusually public show of nervousness over the film’s profitability. Paramount can use the money from the deal to help recoup the film’s reported $55 million budget, but if Annihilation is a hit, the studio will miss out on any international grosses. The deal also effectively signals Paramount’s lack of trust in the vision of the filmmaker it hired.
“Irritated cross talk and loud quarrels, whether between couples or random filmgoers, was such a mainstay of the Lincoln Plaza experience that last fall, my wife and I made a point of going there to see The Meyerowitz Stories, with Dustin Hoffman playing an ill-tempered sculptor and bad father, because we knew it would be like seeing the film in Sensurround.” And, found Bruce Handy, it was – even at a weekday matinee.
“[John] Copley, 84, has been one of the opera world’s foremost directors for decades. He was at the Met directing a revival of his 1990 production of Rossini’s Semiramide when a member of the chorus reported that Mr. Copley had made him uncomfortable at a rehearsal on Monday with a sexually charged remark, according to two people familiar with the complaint.”
“The new category marks a radical departure for awards, which began in 1950 ‘to celebrate the best of American literature.’ The prize will be given jointly to authors and translators, and will be limited to fiction and nonfiction works by living authors that are published in the United States. International authors who write in English won’t be eligible.”
“It is a painting that shows pubescent, naked nymphs tempting a handsome young man to his doom, but is it an erotic Victorian fantasy too far, and one which, in the current climate, is unsuitable and offensive to modern audiences? Manchester Art Gallery has asked the question after removing John William Waterhouse’s Hylas and the Nymphs” – and visitors are leaving their answers on Post-It notes on the wall.
At the Pennsylvania Academy of Fine Arts in Philadelphia, “there was some discussion of removing the Close show [in the wake of the sexual harassment allegations against him], but officials believed [the issues] would be better served by keeping the exhibition up and instead using it to create very pointed conversations … [by mounting] an additional exhibit exploring issues of gender and power in an accompanying gallery.”
The New York City Ballet Looks to Its Future
21st-century works in The New York City Ballet’s Winter season (January 23-March 4) … read more
AJBlog: Dancebeat Published 2018-01-31
So much in love
One of the most moving musical performances for me, one I deeply love, one that even makes me cry — it’s Neil Young singing his song “Harvest Moon”, in Jonathan Demme’s Heart of Gold, … read more
AJBlog: Sandow Published 2018-01-31