Category: theatre

“The more theater we have, the more audience we have. When you lose a major house, everybody loses. In the long run, I don’t think it’s good for anybody. It’s a real kick in the shins.”

“No children will go hungry because Amazon Payments has dropped our account into some antiquated pneumatic tube. The show will still go on. But I’ve had to restage because we couldn’t afford to build all of the platforms we had hoped, and a tiny, overextended staff is reaching ever farther with less.”

“It’s absolutely terrifying and it doesn’t get any easier, but it’s almost the most exhilarating role I’ve ever known.”

“The indelible memory of that wonderful whoop is one of the reasons why I keep on going to live performances night after night. Sure, it’s easier to stay home and fire up your television or stereo–but you’ll probably be the only one whooping. It’s a lot more fun to do it in a crowd.”

“In a major new arts funding partnership, Sydney Theatre Company and Suncorp have announced a deal that will make a selection of tickets available for just $20 for every STC performance.” The scheme, a longtime plan of artistic directors Andrew Upton and Cate Blanchett, is modeled on the Travelex £10 ticket program at the National Theatre in London.

“From the perspective of today’s theatregoer, the current method of admission seems like a forgone conclusion: pay ahead of time for a ticket entitling you to a specific seat for a specific performance. But it wasn’t always this way, as evidenced by a wide range of ephemera in the Harvard Theatre Collection.”

“Set in a state-run sanatorium where the so-called ‘patients’ are actually political dissidents undergoing various excruciating corrective treatments, The Hothouse shows the casual inhumanity … with a broad, over-the-top comedy. Several scenes have the rat-a-tat patter of old-school vaudeville and there’s even an exploding cigar.”

“Samuel Beckett left strict instructions for his ‘one-mouth’ play,” Not I. “Don’t act. And you can never go fast enough. Easier said than done, writes actor Lisa Dwan.”

“It was an unprecedented step for an Elizabethan author to take a stake in the ownership of of a theatre company and it put Shakespeare in a “unique position”, compared with his literary contemporaries.”

“It’s our intention to be spoken about in the same breath as the Young Vic,” said artistic director Jez Bond. The two-auditorium venue incorporates a 200-seat theatre – Park200 – and a flexible 90-seat space – Park90.