How Britain’s Theatre Reinvented Itself In The Face Of Funding Woes

Lyn Gardner: “What do we mean by ‘the nation’s theatre’? Think back just 30 or so years and the answer was probably fairly straightforward. It was Shakespeare on our main stages across the country, the big flagship companies such as the NT and the RSC, the state-of-the-nation plays by David Hare, … the loved but often ailing network of regional theatres across the country frequently reviving classic plays and modern classics. Now the answer to the question is far more complex. It is still, at times, many of these things but it is much, much more.”

Where Playwrights Make Enough Money To Fund Their Little Theatre Habit

“Peterson offered the example of the prime-time, one-hour network show: Minimums dictate that a staff writer earns about $3,800 a week—and a fee of more than $36,000 for any episode for which he or she is credited as story and teleplay writer. The first time that episode is rerun, its writer receives an additional $24,000. Members of the writers’ guild also receive health insurance and pensions, benefits bestowed to playwrights only in very rare circumstances.”

How Black Comics Take On Unmentionable Subjects (Like ‘Drunk Mandela’) In South Africa

“The topics of the day were listed on a white board: ‘Je Suis Charlie’; the governing African National Congress party’s convention in Cape Town; results of the nationwide matric exams, South Africa’s equivalent to the SAT. But the crew remained stuck on the Paris killings, in an animated back and forth about free speech.”