Broadway Flops Get Second Chances Abroad

“As the budgets of Broadway shows have grown — $10 million to $15 million is standard these days — so too has the financial incentive to fix flops. And a show’s second shot at success isn’t limited to the United States, where touring and regional productions can offer a backup market. Germany, the Netherlands and Japan are among the countries that have demonstrated an appetite in recent years for American musicals.”

Pop-Up Theatre: Now Even England’s National Theatre Is Doing It

NT associate director Ben Power: “There’s a certain energy that comes from knowing that a space that was built and used as something else is being inhabited by a particular performance. That both performers and audience are interlopers or invaders in someone else’s space. The idea that the space will revert to another use after the final show.”

Understanding A Play When You Don’t Speak The Language

Laura Barnett on watching Miss Julie in French at the Avignon Festival: “I was much more aware of the production as a whole – the white-box set, the dancers writhing away in the background – and of the actors’ incredible physicality. In shifting my attention away from the language, the experience of watching the play became even more intense.”

Transfers To West End From UK Regional Theatre Have ‘Dried Up’, Says Alan Ayckbourn

“They used to look for their sources from Scarborough and from Willy Russell in Liverpool and so on and so on, and West End producers would zoom up the motorway and have a look at a new play in Sheffield or Leeds or Manchester or wherever. … But, normally speaking, that ready source of plays [in the regions] has dried up.”