‘I Got Death Threats For Not Liking A Sondheim Musical’: John Lahr On Being A Theater Critic

“People piss on theatre critics from a great height. But in the end, they are the record. You can’t replay this stuff. They are the only way we can find a way back. … If you’ve been really engaged and the artist realises that, and you still don’t like the work, well, they don’t love it – but they don’t feel offended.”

How I Became Julie Taymor

The director tells Alec Baldwin about her youth at Boston Children’s Theater, her time at Oberlin majoring in anthropology (“but I couldn’t stay away from theater”), what she learned watching shadow puppet plays in Java, and how her career metamorphosed – several times – once she returned to the U.S. (podcast)

How One Playwright Imagines The Audience She Writes For

“For me, thinking about this big audience makes my play bigger, because the things I’m worried about right now—getting my son into a good high school, you know, etcetera, etcetera—I’m not sure I want to be writing plays about that. I feel like the playwright is in the business of imagining bigger worlds, and by putting the audience there—especially with the class spectrum—I feel like the plays get deeper and bigger.”

Edinburgh Festivals Post (Yet Another) Record Year At The Box Office

“The fringe broke the 2 million barrier for the second year in a row, recording a rise of 5.24% on last year’s figures to 2,298,080, on an increase in productions of 3.79% to 3,314. The Edinburgh International Festival posted ticket sales valued at a record £3.8 million. The number of tickets issued passed 163,500, the highest since 2003.”