Category: AUDIENCE

Fall For Dance Toronto Expands Again

When the original populist model for Fall For Dance was launched by New York City Center in 2004, there were indeed whispered concerns about whether the rock-bottom ticket price might undermine less well-funded presenters by engendering false expectations. The whispers soon evaporated. Fall For Dance, in both its New York and Toronto iteration, has always been clearly promoted as an event designed to whet an appetite among new, often younger audiences for the full spectrum of dance.

The Showrunner Who Makes Hits By Ignoring All Of Television’s Trends

Jennie Snyder Urman is not interested in the kind of prestige TV beats that made massive cultural hits out of everything from Breaking Bad to Game of Thrones. Nope. Her show “Jane the Virgin is anti-prestige in every way, a show about admirable women full of brilliant color, bone-rattling twists, and goofy, sly in-jokes that regularly dives into unabashed emotional sincerity.”

Margo Jefferson On Being A Critic And The Many Forms Of Codeswitching In Her Memoir

Jefferson’s memoir Negroland won the National Book Critics Circle Award for Autobiography, partly because of its ability to be personal and critical at the same time. Jefferson says, “I’d spent my writing life as a critic. My initial feeling was that those kinds of tones and voices had to go; this was memoir. But then, I realized, no, that was as much a fixed part of my identity as other things. I realized I had to include the critic who is diagnosing, who is assessing, who is judging against a kind of backdrop that is aesthetic, cultural, political.”

Opera’s For The People, So Why Not Make A Mile-Long Opera With 1000 Singers?

Also, why not get the libretto for it from poets (and utter forces of nature and intellect) Anne Carson and Claudia Rankine, and then set it all on New York’s High Line? Why not indeed. More: “Ms. Rankine said that she assembled her contribution of the libretto — her words are spoken, while Ms. Carson’s are sung — by interviewing people about their tables.”

‘I Went To As Many Instagramable ‘Museums,’ ‘Factories’ And ‘Mansions’ As I Could. They Nearly Broke Me.’

Amanda Hess visited the Museum of Ice Cream’s New York pop-up, the Rosé Mansion, Candytopia, Color Factory, 29Rooms, and even a preview party for the upcoming Museum of Pizza. “I realize that I have a ‘fun’ job that it’s annoying to complain about: Oh no, I have to drink free wine and eat ice cream. But as my summer of pop-ups dragged on, I began to dread my evenings. What began as a kicky story idea became a masochistic march through voids of meaning. … And yet, the ‘experience’ has emerged as among the defining fads of my generation.”