available for purchase
at this time.
Link Roundup! – 3/11/16
In honor of International Women’s Day this week, Playbill polled 14 female directors, writers, and composers about the women in the industry to watch:
“I am particularly watching the writing of Dipika Guha: an incredible, nuanced playwright, someone who is smart, political, theatrical and deeply, fiercely emotional. She has been in the Women’s Project lab, and is now being produced across the country (her new work is right now running at Crowded Fire in San Francisco) I worked with her at both Brown and Yale School of Drama, and the range of her work is extraordinary.” – Paula Vogel
Vulture lists 28 reasons theatre is thriving right now:
Many trends in the culture had to coalesce to make this happen. To name a familiar one, Glee snuck musical theater back into youth culture, disguised as a tortured-teen soap. But the two most important changes are about the demographics of artists and the taste of audiences. Just as the Jewish play did in the 1940s, and the gay play in the ’80s, stories about race especially — and also gender, class, and other knotty subjects — are emerging as an important engine of even commercial theater. Still, no matter how good, those plays wouldn’t have any effect if audiences resisted their subject matter. Instead, miraculously, they’re embracing it.
The New York Times has a post about how the arts can be used to promote healthy aging:
Nonetheless, across the country, the arts in their myriad forms are enhancing the lives and health of older people — and not just those with dementia— helping to keep many men and women out of nursing homes and living independently. With grants from organizations like the National Endowment for the Arts and the National Institute on Aging, incredibly dedicated individuals with backgrounds in the arts have established programs that utilize activities as diverse as music, dance, painting, quilting, singing, poetry writing and storytelling to add meaning, joy and a vibrant sense of well-being to the lives of older people.
Howard Sherman breaks down another casting controversy, this time surrounding the Warsaw Federal Incline Theater production of Avenue Q:
Because there’s a line – and it’s not just a racial sensitivity thing, it’s a comedy sensitivity thing. If you play something cheap, if you play it for cheap laughs, instead of playing the truth behind it, it will always be offensive. Bad comedy always offends me in all forms. Avenue Q has that pitfall because it’s puppets. In many ways it’s cartoony, but on the other hand it’s also real, it’s also about real life. Unless the actors play the truth of the characters, the show is just a shadow of itself.”