Aching For The Return Of Live Theatre

Mary-Louise Parker isn’t unhappy about her Tony nomination. But it’s poking at some of the profession’s pandemic wounds. “I just want to see a ghost light. I want to hear someone call, ‘Places!’ I want to walk through the stage door. There’s just something about theater — even nights when I feel like I’ve only done a decent job, I feel like I’ve given something in a way I don’t on film or TV. It feels like I’ve exerted all my energy.” – The New York Times

Kurdish-Language Play In Istanbul Banned Just Hours Before Curtain

Beru, a Kurdish adaptation of Dario Fo’s 1981 satire Trumpets and Raspberries, was due to open at the city’s municipal theatre, marking the first time a Kurdish-language play had been staged in the institution’s 106-year history.” Turkey’s interior ministry tweeted that “a theatre play spreading the PKK terror organisation’s propaganda will [not] be allowed [in any language]”; one of the actors responded “The play by Dario Fo was performed in many languages all over the world. Why is it dangerous when it is in Kurdish?” – Middle East Eye

‘Sex And Consequences’, Isabella Rossellini’s New Streaming Theatre Piece For Farm Animals

Laura Collins-Hughes visits Rossellini’s Long Island farmstead to watch her and her co-stars — two dogs, six sheep, and however many chickens will cooperate — rehearse her new show, a sort of sequel to her famous Green Porno series, directed (over Zoom from California) by a Flying Karamazov Brother. – The New York Times

Theatre-By-Snail-Mail

The audiences interact with characters one-on-one through the letters and can possibly alter the arc of the pieces through their correspondences. For a few of the play tracks, audiences can select particular characters to follow and even determine outcomes based on their response letters. “It’s a bespoke adventure—a tailor-made adventure specifically designed for you and your experience.” – American Theatre

How The UK’s Famous Drama Schools Are Responding To Calls For Systemic Change In Theatre

“For many, British drama schools are beacons of excellence, whose training has led to fulfilling careers, but for others they have become symbols of all that is wrong with British theatre. The heads of some of the UK’s most prestigious schools speak to Lyn Gardner about finding the balance between tradition and change.” – The Stage