Anna Shapiro Running Steppenwolf Theatre: Year Zero

“Shapiro is a star of sorts, the company’s 35th ensemble member (and one of the few nonactors in that group), acclaimed for muscular, lyrical relationship studies, the kind where a chair or two gets thrown. She is a Tony Award winner whose production of ‘August: Osage County’ remains intrinsic to Steppenwolf’s identity. Advance ticket sales alone for ‘Fish in the Dark; ($14.5 million) were about the same as Steppenwolf’s annual operating budget. And for the past few years she has added to her reputation by becoming a Broadway insurance plan of sorts, celebrity-whispering famous actors until they become believable, bankable presences onstage.”

Ten Lessons From The Theatre World On How To Start A Diversity And Inclusion Program Without Screwing It Up

“4. Walk through the entire program through the lens of those you are inviting into your theatre or organization. What would you see? What would you experience? What does it feel like to be as a person of color and walk into your institution? An easy way to feel tokenized is when you are the only one at an institution.”

There’s Just So Much TV To Watch (Is It OK To Skip Some?)

“Binge-watching isn’t just the new sex — it’s the new workout, the new book club, the new cocktail hour. Where once most new shows premiered in the fall, now they drop all the time, some in complete seasons. Announcements of new programming from clever upstarts Netflix, Amazon, Hulu and Acorn feel like pop-culture air-raid sirens: ‘Citizens, seek shelter: ‘The Man in the High Castle’ is descending.’ Of course, we want to see it, but, oh, my God, who has the time?”

This Physicist Is Saving Music

“Some of those delicate things are wax cylinders, lacquer and metal disks, plastic belts and even sheets of tin foil—cutting-edge technology from the past. The sounds that they hold include early, experimental voice recordings made by Alexander Graham Bell and his father in the 1880s.”

Gaming While Gay

“The characters matter. As we become the story’s protagonist, the companions represent the other players. In a way, they bring a sense of humanity into the plot. Their personalities may attract or repel us, their motivations may or may not align with our own. They become our point of reference, our guides, our rivals or friends. They give us decisions to make and show us the consequences. Sometimes, through them we see our community. Sometimes, they are extensions of ourselves.”

Ballet Still Has A Boy Shortage

“‘Programs fight to get boys to come to their programs and offer them incredible financial packages, just to come to their summer workshops,’ Madonia says. ‘They might get full tuition. In many places, they get housing. Sometimes they even provide transportation, a stipend, a living expense.'”