Let My People Come (The Other ’70s Nudie Musical) – Will It Make Any Sense In 2013?

“The most outrageous aspects of the show – its copious nudity, grinding simulations, exceptionally blue language – tend to overshadow both its social importance and the sweet, rather innocent messages about sex at its core. The revue ran during a time when ideologies from the 1960s sexual revolution were being absorbed into the American mainstream.”

They Call It Financement Participatif: French Museums Try Crowdfunding

“For as little as a single euro even the most ordinary art connoisseur can join the fund-raising fraternité that is working to restore the dome of the Panthéon … Maybe you’d like to help the Louvre buy a pair of 13th-century ivory statuettes, or the Museum of Fine Arts in Lyon get the Ingres oil it so very much desires? Please?”

The New Anna Karenina Film Is Like A Ballet – And Ballet Companies Should Learn From It

Sarah Kaufman: “[The film’s] director and choreographer worked closely together to create a magical, stylized world of piercing, intensified feeling. In the dance world, such a feat is all left to one person, the choreographer or company director. … But making a work of living, urgent and irresistible theater, where every moment works, not just the danced ones, is often simply not in the dance specialist’s arsenal.

Hamilton, Ontario’s Last Vaudeville House To Become Arts Center

“I can’t say who is footing the bill until the ‘T’s are crossed and the ‘I’s are dotted, but this is going forward, no doubt,” says the CEO of the organization that owns the Tivoli. “There will be condos behind, a commercial shopping centre in front and the theatre will remain at the heart and soul of the whole business.”

New Year Bringing Movement (If Not Progress) In Twin Cities Orchestra Lockouts

“Representatives of management and locked-out musicians will meet face to face next week at the Minnesota Orchestra and the St. Paul Chamber Orchestra. In Minneapolis, these would be the first official talks since musicians were locked out Oct. 1 in a dispute over pay cuts and work rules. At the SPCO, musicians were locked out Oct. 21, but contract talks continued into early November.”