The U.S. and Britain don’t have public investigations of theatres’ artistic direction, though Germany does. Perhaps the Globe’s seemingly peremptory dismissal of recently hired AD Emma Rice over lighting will lead Britain to figure that out a little more clearly – together, before hiring a new artistic director.
Category: theatre
How Can Theatre Be More Like Basketball?
In a video, Diane Paulus, the American Repertory Theatre’s artistic director, explains. “The old vaudeville houses were interactive; in gilded opera theatres, the lights used to stay up, the crowd as much of a spectacle and dramatic social circus as the one that was happening on stage.”
When A Theatre (Allegedly) Asks A Women Candidate For Artistic Director What She’d Do For Child Care
And then if that theatre also ends up hiring a man, who used to be AD two decades earlier, lets its current AD (also a woman) go earlier than planned and draws a veil of “no comment” over the entire affair, objections will emerge.
A Canadian University Theatre Casts A White Woman As Othello, And You Can Probably Guess What Happened Next
The student director said she had “researched” the play, and that the role of Othello was the role of an “outsider” – a role that, she claimed, had nothing to do with race.
Can Cirque du Soleil Make A Comeback Powered By China?
“As it seeks to catapult out of a financially difficult period, the 32-year-old Montreal company finds itself at a strategic crossroads as it transitions beyond its signature big-top spectacles and Las Vegas extravaganzas and into new growth opportunities — namely, partnering more with established entertainment properties like “Avatar” and expanding into China.”
Maybe It Made Sense For Shakespeare’s Globe To Part Ways With Emma Rice
Terry Teachout argues that the London press’s “general meltdown” over Rice’s sacking sudden resignation as artistic director is misguided, and that the Globe’s press release was basically telling the truth. But that doesn’t mean the Globe hasn’t treated Rice badly.
The Lawsuit Over Broadway’s ‘Great Comet’ Is Officially Over (But The Adversaries Still Despise Each Other)
“The unusually ugly who-gets-how-much-credit-for-a-big-Broadway-musical battle was officially resolved on Wednesday, when the commercial producers of Natasha, Pierre & the Great Comet of 1812 agreed to revise the show’s Playbill to give more specific credit to Ars Nova, the nonprofit theater that commissioned the show. … But it appears that hard feelings remain.”
Layoffs Are Coming To Ambassador Theatre Group, UK’s Largest Theatre Owner
“The compulsory redundancies are in addition to the voluntary redundancies outlined by The Stage last week.”
Glenda Jackson, At 80, Is About To Do Eight Shows A Week As King Lear
Yes, she was legendary for her hard work and commitment on stage and screen alike, but this is her first public performance in 25 years, and she chose one of the hardest roles in the canon. Is she up to it? See what her director and her Goneril have to say.
Two Are Better Than One: How An L.A. Classical Theater Company Makes Double Casting Work
The Antaeus Theatre Company, which concentrates on plays by the likes of Ibsen, Brecht, and Williams (and yes, of course, Shakespeare), sees what it calls “partner casting” as a solution to a regular L.A. theater problem: actors getting called away at short notice for better-paid short-term film and TV gigs. Kevin Delin watches the process in action as Antaeus rehearses Hedda Gabler.