After Wave Of Criticism, Those Canceled ‘To Kill A Mockingbird’ Productions Can Go Forward Now

So it turns out that forcing theatres across the country to cancel or take down their productions of To Kill a Mockingbird just because a new one is on Broadway isn’t the most popular move ever. Scott Rudin, producer of the new version, recanted and offered theatres the new script at no cost – but it was far too late for some of them. – The New York Times

Broadway Producer And Harper Lee’s Estate Are Shutting Down Local ‘To Kill A Mockingbird’ Productions All Over America

“The theaters were planning to stage an adaptation of the novel by the playwright Christopher Sergel, which has been widely staged by adults and students for decades. Lawyers for the producer Scott Rudin, backed by the Lee estate, are telling the theaters that their productions are no longer permissible because there is a new adaptation, by the screenwriter Aaron Sorkin, which opened on Broadway in December.” – The New York Times

UK’s National Theatre Will Hold Special Casting Day For Trans Actors

“The event, the first of its kind held by the NT, will take place on April 15 in London, and is aimed at ‘professional actors who identify as transgender, trans*, genderqueer, non-binary, gender fluid and intersex’. … The Old Vic’s casting team will be attending alongside the casting department from the NT, and other industry creatives.” – The Stage

Using Theatre To Bring Together (If Not Reconcile) Falklands War Vets From Both Sides

“Both the play Minefield and the documentary Theater of War are part of the same project in which [director Lola] Arias, together with veterans of the Malvinas/Falklands War of 1982, reconstruct memories in a tense and emotional production, in which the former British and Argentine soldiers are themselves the stars — former enemies, side by side.” – Hyperallergic

Ex-Professor Sues ACT For Racial Discrimination

Stephen Buescher, former head of movement for the San Francisco theater’s MFA program and choreographer for several of its mainstage productions, says that he was underpaid for his work and denied access to the building on several occasions, along with other factors that “created a hostile, discriminatory work environment for him and for other employees and students of color.” – San Francisco Chronicle