In many ways a theatre can be compared to a community center—both are public places to gather, to socialize, to learn, to be entertained. Now some theatres are intentionally taking up the mantle, fashioning themselves into civic hubs where engagement programs are designed to connect onstage programming with audiences apart from their time in a darkened theatre, and to create initiatives to address specific needs in the community.
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Why Do We Put Critics Of Color In Boxes?
“Because I’m Black, because I’m a woman, and because I’m the daughter of immigrants, I can look to my own experiences and write about marginalized groups with a sensitivity that has yet to become the standard. That said, as a freelancer, the “Black” beat is unofficially assigned to me at every publication I’ve worked under. When I was a freelancer at the East Bay Express and wanted to write about something not directly related to Blackness (whatever that even means), my pitches were given away to other writers so that I could focus on the black stuff. As is the case for other Black women writers I know, a number of publications are looking to exploit my internalized racial trauma for emotion-bait and can’t fathom a use for me outside of that role. Publications need to do better.”
Cosby’s Hollywood Star Will Remain
Hollywood Chamber of Commerce: “The Hollywood Walk of Fame is a historical record of entertainment figures past and present. Once installed, the stars become part of the historic fabric of the Walk of Fame, a ‘designated historic cultural landmark,’ and are intended to be permanent. The stars only commemorate the recipient’s professional accomplishments.”
Bringing Africa’s Traditional Cultural Practices Into The Digital Age
“In sectors as diverse as finance, fashion, culture, and languages, innovators are stepping in to preserve decades or centuries-old systems for the future. These digitization projects have spawned new collaborative networks, bringing together people from different backgrounds who share similar cultural traits or interests.” Reporters Abdi Latif Dahir and Lynsey Chutel spotlight some examples.
Sydney Goldstein, Founder Of San Francisco’s City Arts & Lectures, Dies At 73
City Arts & Lectures began in 1980, and Goldstein ran it for 37 years, before turning it over to her daughter and Holly Mulder-Wollan in July 2017. The series at Nourse Theater offers more than 50 programs a year before a live audience of up to 100,000 annually.
‘The Satanic Verses’, 30 Years On — What Made (And Still Makes) Some People So Angry?
University of Chicago religion and ethics scholar Myriam Renaud offers a refresher course.
A Scottish Town’s Attempt To Be Bilbao. Will It Work?
It’s not yet entirely clear to what extent Dundee’s plan to replicate the Bilbao Effect will work. Certainly, the V&A Dundee itself is impressive—as well it should be, given that its initial predicted budget of £27 million ($35 million) rose first to £45 million ($59 million) and then to £80 million ($105 million), with the lion’s share coming from public funds. Designed by Kengo Kuma, the building is an unquestionably evocative one that, depending on your viewpoint and the weather, might seem to resemble a cliff, the bones of some giant sea creature, or a ship.
What Those Words And Phrases You Keep Seeing In Theatre Reviews Really Mean
“Critics often fall back on neat phrases to gesture at flaws they’re reluctant to spell out, or to wave impotently at a whole mass of ideas that would take a PhD thesis to explore. For your entertainment, three Exeunt writers are here to crack the code, and reveal the true meanings behind some of the shorthands that critics fall back on when deadlines, word counts and writers’ block bite.”
Report: Cultural Attendance Is Up In Scotland
Attendance at cultural events or places in the country, which was 78% in 2012, has now risen to 84%. The figures include attendance at live music, cinemas, museums, theatres and libraries. When cinemas are excluded, the proportion of people attending cultural events or places has risen from 70% to 77% during this period. The biggest rise was for historical and archaeological sites.
At Work With The Sound Mixer At The Metropolitan Opera
David Frost controls the soundboard for all of broadcasts for terrestrial and satellite radio, for the company’s in-house records, and for the HD cinema simulcasts. Joshua Barone watched him work on opening night: “He sits in a booth, following along with a conductor’s score and constantly adjusting several dozen faders, dials that control the levels on microphones set up onstage and throughout the orchestra pit. With the appearance of an organist juggling complex polyphony, he aims to match the high quality of studio recordings — only in real time.”