“Although representatives of first-rank Israeli companies, such as the Cameri Theatre of Tel Aviv, argue that their organizations do not shy away from controversial work, American artistic directors whose companies have become havens for marginalized Israeli playwrights say otherwise. Groups such as [Boston’s] Israeli Stage and, even more prominently, Mosaic Theater Company in Washington consider themselves outposts for Israeli dramatists who find it increasingly hard to get a hearing in Israel for their most political works.”
Blog
Why A Nationwide NPR Or PBS Fund Drive Has Never Worked Out
“Why don’t all public broadcasters coordinate on a national pledge drive? … Though it may sound promising, a systemwide pledge drive for public media would get bogged down in logistics and clash with the system’s localized business model.” April Simpson explains how/why.
A Farewell Essay From Chicago Tribune Classical Critic John Von Rhein
“My central aim was to give the reading public an informed yardstick of opinion by which they could measure their own reactions to a given performance. … Contrary to what many assume of critics, I took no delight in panning performers. I always tried for balance in my reviews. I appreciated the power of the pen but was often reminded of the limitations of language when it comes to evoking arguably the most word-proof of the arts.”
Harlan Ellison, Superman Of Science Fiction, Dead At 84
“During a career that spanned more than half a century, Ellison wrote some 50 books and more than 1,400 articles, essays, TV scripts and screenplays. Although best-known for his science fiction, which garnered nearly a dozen Nebula and Hugo awards, Ellison’s work covered virtually every type of writing from mysteries to comic books to newspaper columns. He was known as much for his attitude as his writing — he described himself once as ‘bellicose.'”
Why The Doris Duke Foundation Revived The Artist Awards It Ended Last Year
“The Doris Duke Charitable Foundation wound down its Artist Awards in 2017, only to bring it back in a modified form as a core component of its mission moving forward. It just announced the seven winners of its 2018 class, and in doing so, addressed two of the big trends in arts philanthropy right now.” Mike Scutari explores how and why.
The Problem With Big Philanthropy
“Big Philanthropy is definitionally a plutocratic voice in our democracy, an exercise of power by the wealthy that is unaccountable, non-transparent, donor-directed, perpetual, and tax-subsidized.”
Orlando Ballet Has A(nother) New Executive Director (Will This One Stay?)
“Shane Jewell, announced today as the new executive director of Orlando Ballet, says he’ll be sticking around. But he’s keenly aware that after a revolving door of ballet executives in the past few years, there’s no reason for Central Floridians to believe him. … [There have been] years of financial crises and leadership changes at the ballet, which has had six executive directors since 2011. It nearly shut its doors for good in 2015.”
Glenda Jackson Will Return To Broadway In A New King Lear
The Oscar- and Tony-winning actor, now 82, returned to the stage two years ago, after a 23-year career in the UK Parliament, playing Lear in a modern-dress production at the Old Vic. Rather than bringing that staging to Broadway, she’ll be performing next spring with an entirely new creative team and cast assembled by lead producer Scott Rudin.
Glasgow School Of Art Will Have To Be Partly Demolished – And Fast
Contrary to reports last week that the landmark building by Charles Rennie Mackintosh remained “structurally solid” following the fire that raged through it earlier this month, “Glasgow City Council officials said that their surveys … have shown that there has been substantial movement in the building, meaning a sudden collapse of certain parts of it was ‘likely’.”
We Started A Theatre Company In An Old Bus Station (And No, We’re Not Entirely Bonkers)
Peter Tate and Anthony Biggs write about how they launched The Playground Theatre in a former depot near the recently-burned Grenfell Tower in London, how they decided to configure and equip the empty building, how they connected with audiences in what may be the most diverse area in the entire UK, and how they raised the money to pay for it all.