Composer Tom Kitt and lyricist Brian Yorkey (Next to Normal) and book writer Roberto Aguirre-Sacasa (the chief creative officer for all Archie Comics properties) “have departed the production due to ‘creative differences’ … Director Trip Cullman and choreographer Camille A. Brown, who collaborated this season on the Tony-nominated Broadway production of Choir Boy, remain attached.” – The Hollywood Reporter
Tag: 05.03.19
How Suzanne Farrell Came Back To New York City Ballet, 26 Years After Peter Martins Fired Her
Amy Brandt, who danced in Farrell’s company in Washington, DC, talks with Farrell about her return to the troupe where she became a star, and watches her coach Sara Mearns and Russell Janzen in a piece that Balanchine choreographed on her: the “Diamonds” act of Jewels. – Pointe Magazine
One Of The Princes Of New York’s Avant-Garde Dance Scene Also Choreographs Ice Dancing
Jonah Bokaer says that working with Team USA ice dancers Lorraine McNamara and Quinn Carpenter has been one of the most rewarding projects of his life. – Dance Magazine
You Have One More Year To Pull In A Bigger Audience, Scottish City Government Tells Arts Centre
The municipal council of Perth and Kinross, alarmed by poor attendance and financial performance at the Perth Theatre and Perth Concert Hall, warned the nonprofit which operates the twin venues that it has a year to work a turnaround. – The Stage
Cancel Culture, Miss Saigon, And Butterfly
Cancel culture is not the same as the rising desire to engage with art’s social implications. But both phenomena are indications of a country that is fundamentally shifting the way it engages with entertainment. As such, the titles in Houston have been criticized for inaccurate and stereotypical portrayals of Asians. Since its premiere in 2017, theater critics have taken issue with the representation of women and Vietnamese people in “Miss Saigon.” And the local production of “Madama Butterfly” was itself a piece of self-commentary. – Houston Chronicle
Journalism’s Dependence On Freelancers Has Impoverished It (And The Profession)
“In truth, freelance journalism, as a career, is mostly an anachronism. Given the rock-bottom rates on offer, few writers actually support themselves with full-time freelancing… But for most of us, freelance journalism is a monetized hobby, separate from whatever real income one earns. The ideal relationship for a freelance journalist to their work becomes a kind of excited amateurism.” – The New Republic
Ralph Fiennes On The Challenges Of Making A Movie About Nureyev
While other films about ballet have gone for big-name actors with body doubles for the dancing bits — think of “Red Sparrow” and “Black Swan” — Fiennes was committed to casting a dancer as Nureyev. Yet the dancing scenes, he says, “were a big, big, big challenge, because I don’t have a ballet background, and I needed the help of the ballet masters and choreographer to know if it was good, because not every time a dancer dances it’s as good as it could be. It was scary.” – Washington Post
What Twitter Thinks About You Based On Your Online Behavior
Seeing what Twitter thinks you like can be a fun activity — but it can also be an odd experience to see what the company infers about you from your online moves. The psychology around targeted advertising is complex. On the one hand, if we have to see ads, it’s probably better that they’re in line with our interests. On the other, knowing how much advertisers know can feel a bit, well, creepy. – Vox
The Rise Of Interest In Fascism – Among Readers, Publishers
These books and classes seem to ask an underlying question: Is what the world is experiencing today a replay of the Nazis and Italian Fascists? Probably not. But the parallels these writers see are difficult to deny. Even Francis Fukuyama’s latest books have re-examined democracy in our current age. – Los Angeles Times
OK, What’s Going To Be On Broadway Next Season?
Is it too soon after this year’s Tony nominations came out? So what? Bring ’em on: “When it comes to new musicals, looking beyond Broadway can reveal productions that may yet be players in the coming season. It’s also a reminder of the almost inextricable relationship that now exists between non-profit institutional theatres in the US and their commercial counterparts.” – The Stage (UK)