“Serial” Addresses The Backlash Directly (More Or Less)

“Up until now, it has seemed a little bit like Serial was occurring in a vacuum, removed from the fandom and hubbub surrounding it. But on this week’s episode – which came after a week of mounting backlash online and a public statement on Reddit from a man claiming to be Hae Min Lee’s brother – the show seemed to reach a brand new level of self-awareness.”

Use Your iPhone At The Orchestra Or Opera? In Philly, Sure!

“The technological barbarians are at the gate – and are being welcomed graciously. Only three years after an errant ringtone during the New York Philharmonic’s performance of Mahler’s Ninth Symphony sparked an international uproar, two august Philadelphia institutions are telling audiences to keep their phones on – within particular limits.”

Return Of The Repressed? John Cameron Mitchell Will Be Playing Hedwig On Broadway

The writer and original star of Hedwig and the Angry Inch “said he was initially reluctant to play Hedwig again after his yearlong run downtown and then in a 2001 film adaptation. But as he watched [Neil Patrick] Harris, Andrew Rannells and Michael C. Hall in the role over the last seven months, … ‘I was kind of itching to do it, and if I don’t do it now, I’ll never do it, because I’ll be too old.'”

Becoming The World’s Tallest Ballet Dancer Wasn’t Easy

Fabrice Calmels (6’6″): “I knew I had the technique and could do a lot of things principal dancers could do and I wanted my chance. But everyone was like, ‘You know, I think you’re really tall. I don’t think you’ll ever have a career. I think you should be doing something else from ballet.’ And when you’re young, that really f***s with you.”

“A Capacious Sensibility” – Mike Nichols As Theater Director

“It made perfect sense that the man who was one of the original producers of the musical Annie was also the Broadway director of Hurlyburly, David Rabe’s cocaine-strewn drama about Hollywood hedonists. Or that after hitting box office gold with the musical spoof Spamalot, he switched gears and concentrated on dramas by Clifford Odets, Arthur Miller and Harold Pinter … He had tremendous instinct not only for what was funny but what could grab an audience, surprise them, wake their minds, move them to indignation or, better yet, tears.”