“Toronto’s stage adaptation of The Lord of the Rings will not only transform the entire inside of the Princess of Wales Theatre into Middle-Earth, but it is being billed as the city’s biggest hope to restore its theatre and tourism industries to their pre-SARS financial health… In addition to the $3-million Ontario government loan, the trade and travel group Tourism Toronto is committed to provide $3-million in marketing support. And although [the play’s lead producer] said the production will have ‘no problem’ raising the rest of the money needed, he is campaigning hard for a $3-million loan from the federal government, which he described as crucial for financing a production of this size.”
Category: theatre
Seattle’s Theatre Scene Wilting
While Seattle’s ACT Theatre has had well-publicized financial problems, “Intiman, Seattle’s other midsize theater, has been fighting for its life in private. It has an accumulated deficit of $800,000 and expects to add $150,000 to that this year. This midlevel crunch is the most dire sign of contraction in a theater scene once hailed among the nation’s most promising. The bedrock formed decades ago is showing serious cracks beneath the top layer. ‘We’re not seeing this as a mecca of theater anymore. We’re losing our ability to keep master artists in the community. I see very few actors coming’.”
“Rings” To Toronto?
Lord of the Rings, The Musical is a $30 million production waiting to happen. But where? Plans were to open in London, but that’s been problematic. Latest wod is the show might land in Toronto. Producer Kevin Wallace’s problem is that “the musical Rings has been finished and ready to be cast and mounted for some time. Rather than wait indefinitely for a London theatre to come open, he may have finally decided to opt for Toronto.”
The 24-Year-Old And The Big-Time Play
A 24-year-old in Minnesota, tired of seeing what he considers the same old thing on stage, decided to produce his own play. But this is no small production. “He has rented the thousand-seat Fitzgerald Theater in downtown St. Paul. He has hired union actors, musicians and technicians. He has built his financial structure like a Broadway production, courting three dozen investors to raise a budget estimated at more than $400,000 — more than what all but the largest theaters in the area spend over the course of an entire season. For tickets, he’s charging something close to Broadway touring show prices.”
Seattle’s ACT Theatre In Financial Trouble Again
Seattle’s ACT Theatre finds itself looking at a $450,000 deficit on a $5 million budget. “Over the next few weeks, we’ll be looking at belt-tightening possibilities,” said company manager Susan Trapnell. “One likely option is about a month of unpaid furlough for Kurt (artistic director Kurt Beattie) and me. Salary cuts for top staff are another possibility.” Two years ago, ACT was on the verge of bankruptcy but pulled away from the brink of extinction with emergency austerity and fund-raising tactics.
Tacoma Theatre Loses NEA Grant
The struggling Tacoma Actors Guild theatre loses a $25,000 NEA grant for producing Shakespeare. A production of “Comedy of Errors” was canceled after the theater announced $350,000 in debt and laid off its staff in December, reopening with a scaled-back production cycle that includes, instead, “The Complete Works of William Shakespeare (Abridged).” That disqualified TAG from the competitive Shakespeare for a New Generation program. TAG was selected as one of 22 participating theaters in the nation. These have to be full productions of Shakespeare’s work.”
The Difference Between English And American Theatre Critics?
“The American drama critic, when he is not a failed playwright or actor, tends to be recruited from the ranks of journalists. The English drama critic comes to the “live theatre” after an immersion in upscale, university-bred culture. On some tacit level, play-going is always viewed as the more vulgar expression of Literature. But being better read and better educated than his American counterpart doesn’t always insure more sensitive responses. Too often larger, and largely irrelevant, issues becloud his judgment and his mind is constantly distracted by generalities which are part of a political agenda, an elaborately-wrought esthetic, or merely the offshoots of an over-stuffed intellect.”
The Big Broadway Spam Scam
Theatregoers who signed up for e-mail newsletters for two popular Broadway musicals may be getting more than they bargained for, after it was discovered that a software glitch allowed the e-mail addresses of those signing up to be accessed by any savvy visitor to the shows’ websites. The security hole is one that has frequently been exploited by hackers to gain lists of e-mail addresses for spaming purposes. And in case you were wondering: yes, Monty Python’s “Spamalot” was one of the musicals affected.
NY To Change Child Performer Rules?
The New York legislature is considering a bill to change the child performer laws. “The current New York law lists the educational requirements for child performers and also mandates a trust fund to protect 15% of the child’s income. It also provides a method by which producers can file that money with the state Child Performer’s Holding Fund if the performer’s parents or guardians don’t establish a trust.”
Everything’s New In Chicago
Chicago’s 2005-06 theatre season is shaping up to be a strong one for new dramatic works. “After the recent announcement from the Steppenwolf Theatre Company that its 2005-06 season will consist entirely of new plays, Lookingglass Theatre also has announced that its 2005-06 season will consist of five world premieres. In addition, the Goodman Theatre has announced that it will add to its current season a world-premiere production of David Cale’s Floyd and Clea Under the Western Sky, opening April 19 in the Owen Theatre… Meanwhile, Chicago’s Court Theatre has announced plans to present Mabou Mines DollHouse, a new take on Henrik Ibsen’s drama of marital strife.”