Why I’m Building A Pop-Up Globe Theatre

“It’s the energy of the building that has the potential to bring Shakespeare to life. It’s the shared space, the triple-galleried cockpit, the restless crowd, the direct address. It’s these conditions of performance that create a transformative experience.” Miles Gregory explains why he and colleagues are constructing “a full-scale, temporary, working theatre space that precisely replicates the dimensions of the Globe Theatre. That can quite literally ‘pop-up’ anywhere.”

How “We Shall Overcome” Became An Iconic Song (The Man Responsible For It Just Died)

“We Shall Overcome” is a staple for civil-rights protests—and for that matter, for any kind of social-justice movement. The Library of Congress calls it “the most powerful song of the 20th century.” So it was a surprise to learn that not only is the identity of the person who made it into that anthem known, but he died only on May 2.

Can You Really Make A Dance About Britain’s 1984-85 Miners’ Strike?

“The strike was a defining political and social moment in recent British history; it changed the nation, and its repercussions are still being felt. But it is a complex and difficult subject to navigate in an abstract art form such as dance.” Even so, Rambert Dance Company artistic director Mark Baldwin gave it a go, and he writes here on how he went about it.

The U.S. Might Finally Be Reading For A Museum Of African American History, A Century After It Was Planned

“In 1915, a group of black Civil War veterans began pushing for a memorial and museum dedicated to black service members. A little over a decade later, President Calvin Coolidge approved the construction of a building to serve as a ‘tribute to the Negro’s contributions to the achievements of America,’ according to the Smithsonian Institution. Thanks to the Great Depression, that building never came to fruition.”

When Will U.S. Museum Directors Reflect America’s Demographics?

“The impending influx of new blood at the top offers museums an opportunity to rethink the job and question many of the assumptions that underlie traditional museum operations: the emphasis on splendid buildings, the primacy of curatorial authority and the balance between rich donors, for whom museums are often personal vanity projects, and the public, who see museums as shared common goods.”