“Our study reflects that artists, in the year following the death of a friend or relative, are on average less creative than at other times in their lives,” said economist Kathryn Graddy of Brandeis University. Her analysis, co-authored by Carl Lieberman, is published in the journal Management Science.
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Broadway Producers Sue Casting Directors For Collusion
“The casting companies have demanded that Broadway producers pay a surcharge of 29% on all currently negotiated fees, adding tens of thousands of dollars to the cost of putting on a show,” the lawsuit said. The lawsuit also alleges that the casting offices have recently begun boycotting new work.
How A Wandering Mind Meanders To Creativity
“Many of us are familiar with mind-wandering in a number of guises: procrastination, reflection, meditation, self-flagellation, daydreaming. But while some mental meandering seems fruitful, on other occasions it has the unmistakeable bite of a bad habit, something that holds us back from reaching our full potential. Reverie can be a reprieve from reality and a font of inspiration, yes. But equally familiar is the mind’s tendency to devolve into sour and fruitless rumination when left to its own devices, especially when we’re in the grip of depression, anxiety or obsession.”
Is Working Out Our New Fundamentalist Religion? (Sure Acts Like It)
“This conflation of the work of our bodies with the work of our lives can feel insidiously prosperity gospel–ish. The idea that better, harder, faster, and more are all concepts that are inextricably linked can certainly be motivating, but it can also be dangerous and damaging to equate them entirely. This doesn’t just happen in SoulCycle: It’s also present in CrossFit’s relentless, maximalist ethos, as well as more subtly in things like barre programs and kickboxing classes. Across platforms, a single promise resonates: Your body will get smaller, your world will get bigger, and your life will get better, but only through rigorous, sweaty work.”
Why Are Theatres Paying Any Attention To Critics?
“Throughout my career, I’ve experienced critics stepping away from criticism to offer up a wide body of other advice from plays they want the theater to produce to which authors they like and what should be the theater’s strategic priorities. Are these meant to be helpful suggestions or instances where a critic is trying to influence artistic direction? Can theaters politely ignore the suggestions if we disagree, or even worse if it is well beyond their missions, or will the critic take offense?”
Why I Started Talking About Books With Strangers On The Subway
“Judging someone by their book cover is no longer an option. Every person has a story, and the more people I speak with, the more I see this great human storyline emerging that connects us. I wonder what actually divides us, when there are so many things we have in common. We all want to be seen. We all want to be understood. We all want to be free.”
At Houston’s Flood-Damaged Wortham Theater Center, Repairs Reveal Unpleasant Surprises
“While inspecting the property for damage, workers discovered additional layers of walls that they did not know existed. The inner walls, hidden behind the outer walls, contained insulation that took on water and remain potentially infected with bacteria that could grow if left in the basement.” Re-opening of the venue, home to Houston Grand Opera and Houston Ballet, has been postponed from May until at least September.
“The Ferryman” Wins Evening Standard’s London Theatre Award
Jez Butterworth’s win for The Ferryman marks his third Evening Standard Theatre award, having won most promising playwright in 1995 and best play for Jerusalem in 2009. The Ferryman also won in the director category, with Sam Mendes recognised, and in the emerging talent section, with Tom Glynn-Carney honoured.
Women Comics Take On The Rape Joke
“What’s funny about sexual assault? Six female comedians weigh in on rape jokes, and how stand-up is changing in the post-Weinstein era.” (video)
Should Arts Organizations Vet Their Donor Dollars?
“To what degree are cultural institutions responsible for vetting every dollar they receive? Can financially strapped arts organizations be picky about a patron’s source of wealth, and if so, where should they draw the line? At a donor who engages in unlawful or unethical behavior? Or whose conduct is at odds with the institution’s goals?”