“The theaters were planning to stage an adaptation of the novel by the playwright Christopher Sergel, which has been widely staged by adults and students for decades. Lawyers for the producer Scott Rudin, backed by the Lee estate, are telling the theaters that their productions are no longer permissible because there is a new adaptation, by the screenwriter Aaron Sorkin, which opened on Broadway in December.” – The New York Times
Tag: 02.28.19
Former Balanchine Dancer Sues Balanchine Trust And Its Founder (And She’s A Board Member)
“Susan Gluck, a trustee of the George Balanchine Trust, which administers the rights to perform Balanchine’s ballets, filed a petition Thursday … seeking a full accounting of the financial management of the trust. She danced [under Mr. B. at New York City Ballet] from 1978 to 1986.” Gluck petition charges that Barbara Horgan, for many years Balanchine’s secretary, “has leveraged the trust to consolidate her power … and maximize her income to the detriment of other trust beneficiaries.” – The Washington Post
American Repertory Theater To Move Across River From Cambridge To Boston
Greater Boston’s leading resident theater company has been on Harvard Square for decades, but it’s just been given $100 million by hedge funder David E. Goel and his wife as the lead gift for a “research and performance center” in the Boston neighborhood of Allston. (No timeline has been announced.) – The New York Times
WOMAD Is Having Trouble Booking Artists, Who Are Spooked By Brexit
Last year, the headache for this world music festival was that performers were either denied UK visas or found the process of trying to get them too tortuous to deal with. This year, organizers say, in addition to that problem, artists are afraid they’ll get to the EU but won’t be allowed to cross the Channel. – The Guardian
An Author Reflects On The Agony Of Second-Book Syndrome
Hannah Beckerman: “Six years and many thousands of unpublished words later, my second novel is finally about to hit bookshops. Except that it’s not really my second novel. It is, in truth, my fifth. Because for the past six years, I’ve suffered from that widespread and yet rarely acknowledged creative affliction: second novel syndrome.” – Irish Times
A Closer Look At Netflix’s Business Model
Netflix is not in the business of selling individual movies to many different customers. Instead, it’s in the business of selling many different movies to individual customers—in bundles. Bundled subscriptions allow Netflix to practice a different kind of price discrimination from the movie studios. The company doesn’t have to figure out how much a consumer values any individual movie on the service. The bundle does that for them—very profitably. – Harvard Business Review
Departures: André Previn And Ira Gitler
In interviews, I found Previn bemused by the difficulty that critics, and sometimes his fellow musicians, encountered when they tried to strike a balance in considering his variegated musical personas.
Gitler was an invaluable chronicler of the crucial years when jazz made the transition from the swing era into bebop and a model of clarity. – Doug Ramsey
Recent Listening: The Bill Mays Trio Is Back
Bill Mays Trio Live At COTA
Pianist Mays recently reassembled his trio for a concert and their first CD release in more than ten years. Mays, bassist Martin Wind and drummer Matt Wilson came together in a live performance at last Fall’s COTA (Celebration Of The Arts) festival in the Poconos. – Doug Ramsey
Wendy Whelan And Jonathan Stafford Are New York City Ballet’s New Leaders
“Jonathan Stafford, 38, who has been running the company for more than a year on an interim basis, will become the new artistic director of City Ballet as well as its affiliated academy, the School of American Ballet. Wendy Whelan, 51, a star ballerina who danced with the company for 30 years, will become City Ballet’s associate artistic director. The two said they intended to work as partners.” – The New York Times
André Previn, 89
“[He] was a musical polymath who began composing for Hollywood at 16 and won a quartet of Oscars, and had additional careers as a jazz piano phenomenon and major symphonic conductor. All the while, he … was considered something of a playboy as he leapt with swaggering allure between Hollywood and the directorship of some of the world’s leading orchestras, often using his celebrity and skillfulness as a raconteur to bring wider attention to classical music.” – The Washington Post