Earlier this month, the Canadian director’s piece SLĀV, which featured African-American slave songs performed by white singers, was cut from the Montreal Jazz Festival after protests. Now Lepage has called off Kanata, a show about the relationship between European settlers in Canada and First Nations peoples which he created for Ariane Mnouchkine’s Théâtre du Soleil in Paris. Indigenous Canadian artists had objected to work about them being made without their participation, and the controversy led several North American co-producers to back out of the project.
Category: theatre
Egyptian Military Court Sentences Actors Arrested For Play That ‘Insulted The Armed Forces’
The playwright, director, and cast of a play titled Suleiman Khater – about a young policeman who shot seven Israeli tourists in the Sinai in 1985 – were arrested and jailed in March following a performance near Cairo. Following the four months the men spent in prison awaiting trial, the tribunal gave them a suspended sentence of two months.
When Americans Rioted In The Streets Over Theater
“In the years before managers could dim auditorium lights and keep audiences in darkness during a performance, culture and politics met head-on in 19th century American theatres. Endowed with a conviction in their ‘natural right’ of self-expression, audiences would attack bad acting, poor plays and, more commonly, English actors.” That conviction, combined with good old American anti-elitism, ultimately led to the deadly riots outside New York’s Astor Place Opera House in 1849.
Boston Is Still Very Much A Pre-Broadway Tryout Town – That’s The Problem
A First: Special Kennedy Center Honor Will Go To “Hamilton”
It’s the first time the annual awards have honored a work of art rather than an artist. “Hamilton” and its creative team — composer-lyricist Lin-Manuel Miranda, director Thomas Kail, music director Alex Lacamoire, and choreographer Andy Blankenbuehler — will receive a special honor Dec. 2 in a ceremony that also salutes the lifetime achievements of composer Philip Glass, singer-actresses Cher and Reba McEntire, and jazz musician Wayne Shorter.
Order Your Own Bespoke Production Of A Play (If You Have The Cash)
“Billed as an exclusive private theatre offering, each of Revels in Hand’s productions will be specially created for a private client and chosen for the space in which they will be performed. Go People, the company behind the plans, said this could range from a dinner party or a yacht to corporate events and weddings, and would incorporate all styles of play including Shakespeare and modern classics. Clients can also commission new work if they wish.”
Lin-Manuel Miranda To Direct Film Version Of Last Musical By Writer Of ‘Rent’
“It’s Tick, Tick … Boom!: a show that ran Off Broadway in 2001 and was written by Jonathan Larson, the playwright and composer behind Rent. The musical, loosely based on Larson’s life, opened five years after he died in 1996. Mr. Miranda took part in a 2014 production Off Broadway at New York City Center.”
St. Louis Rep Gets A New Artistic Director
Hana S. Sharif has been named artistic director of the Repertory Theatre of St. Louis. She will succeed Steven Woolf, who is retiring at the end of the 2018-19 season after more than 30 years in the position. Currently, Sharif is associate artistic director at Baltimore Center Stage, where she has directed productions including “Pride and Prejudice,” “The Christians” and “Les Liaisons Dangereuses.”
The Actor Whose Theater Is The Underground Drug Trade, And Whose Director Is The DEA
“Fluent in English, French, German, Italian, Spanish, and Greek, [Spyros] Enotiades specializes in playing the role of cartel boss, middleman, or money manager, making phone calls and holding face-to-face meetings with the DEA.’s targets. During the past thirty years, he has become one of the agency’s longest-serving and most successful confidential sources, participating in dozens of investigations targeting narcotics and weapons traffickers in the United States, Europe, South America, and Africa. ‘His ability to migrate between different types of people and cultures is incredible,’ [one for DEA agent who worked with him] said.”
Is Lyn Gardner Suggesting That Theatres Pay For Developing A New Crop Of Critics? Or For Turning Audience Members Into Critics?
“A new approach to theatre criticism, in which theatres see developing critical voices as part of audience and artist development and invest in it accordingly in terms of both time and money, is needed. … Particularly when The Stage survey indicates that word of mouth and friends is a more trusted source of opinion than mainstream publications. Could audiences be those friends too?”