Poland’s Great National Epic Play Becomes The Same Sort Of Cultural Battleground That ‘Hamilton’ Just Became In The US

Adam Mickiewicz’s Dziady (usually rendered in English as Forefathers’ Eve), a text every Pole studies in school, has been used to make strong cultural and political statements for decades. And, as in the States, a low-turnout election recently brought a right-wing nationalist government to power. So the new production of Dziady at the 2016 Theatre Olympics in Wrocław this past fall was potentially far more fraught than Hamilton became after Mike Pence saw it.

Is The Only Way To Make Theatre Budgets Work By Underpaying Workers?

“The debate over these overtime rules — in this article, in my head, in my heart, in our boardroom, in a courtroom, in our communities as well as among members, sponsors, and donors, has to include asking whether the only way to balance a budget is by marginalizing those who pour all of their passion, time and talent into their organizations.”

The Problem Of Iago, And How Daniel Craig Solves It

“In recent productions he has been rendered modern (which is to say, not purely evil in the original, metaphysical sense) through complex psychological contrivances” – traumatized soldier, or repressed homosexual, or morbidly jealous husband, and so on. “Daniel Craig’s Iago is not a psychopath, or a victim of trauma, or a man deluded about right and wrong. He makes a choice.”

Why They Staged The David Oyelowo/Daniel Craig ‘Othello’ In A Big Plywood Box

Director Sam Gold and set designer Andrew Lieberman modeled the space “on the kind of temporary military installations that have U.S. troops have mounted in deserts in Iraq and Afghanistan over the last dozen years or so, and put the audience on three sides of the action.” Here they talk with Rob Weinert-Kendt about the hows and whys.