On the last night of Scottish Opera’s production of La Boheme, the company’s performers staged a protest at the end, unveiling “T-shirts bearing the words: ‘No Chorus? No Opera? No way!’ The protest, which involved the 34 members of the chorus whose jobs are to be axed, as well as technical staff, principal singers, and the orchestra, was then greeted with a lengthy standing ovation.”
Tag: 06.27.04
Warning! Moron Alert!
What we need? A terrorism alert system for the arts, write Dominic Papatola. It could be administered by the NEA, he imagines: “At a press conference Friday in Washington, Gioia unveiled a Moron Alert System, under which all concerts, plays and recitals would be color-coded to identify what the chairman referred to as ‘heightened and specific’ threats to the integrity of a given performance.”
Lord Of The Dance Performances Canceled After Murder
An unidentified man shot dead and robbed a member of the entourage performing Lord of the Dance at the Johannesburg Civic Theatre early on Sunday morning. Performances of the show have been canceled.
R-Cards – Acknowledging Reality, Or Abdicating Responsibility?
Some American theatre chains are issuing “R-Cards” that allow minors to get in to R-rated movies. “But critics are denouncing the R-card as both a maneuver around the movie rating system — which was set up to help parents sort out which movies were appropriate for their children — and an abdication of parental responsibilities.”
Mixed-Up Artists
In Toronto, like in many cities, artists communicate with other artists in their own fields, but seldom interact with artists in other artforms. A couple of Toronto art entrepreneurs have begun a program to mix things up. “But it’s almost anti-art world, anti-industry. I don’t like to use the term, because it sounds negative, but we look outside of what’s already established and allow other people access that they would otherwise not have, due to a lack of connections. A lot of these artists would have no idea where to start, getting themselves out there, promoting themselves. And that’s where we come in.”
NYCB – Eifman’s Apalling Homage
“For reasons too discouraging to explore, the New York City Ballet commissioned a work from Boris Eifman for its year-long Balanchine centennial celebration, now winding down. And Eifman came up with Musagète (Leader of the Muses), a 50-minute extravaganza that—despite its appalling notions of choreography, biography, and their possible relationship—claims to be a homage to the master. This is an event that could only have occurred over Balanchine’s dead body.”
Why Orchestras Are Stuck In The Past
“A little more than a decade ago, recording, radio and television contracts were bringing in about $700,000 annually in revenues. Today that figure hovers below $150,000. And if the orchestra wants to record an important new work that it has commissioned from a famous contemporary composer, it must pass the hat.”
Melamid At The Temple Of Art
Alex Melamid is at it again. In his latest project designed to make his audience question artworld assumptions, he propses that art is the new religion. “In his current Art Ministry project, Mr. Melamid uses religion as a lens through which to examine the ingrained pieties and genius worship of museum culture. ‘The whole idea of art is based on belief. You cannot explain it, you cannot understand it. Just try reading art criticism — all you can do is have faith’.”
Supernumerary Stamina
“Supers, as they are commonly known, stand on their feet for hours on end but only rarely get to take a bow. They nod and smile imperceptibly after a ballerina like Michele Wiles whips off rounds of triple fouette turns in “Swan Lake” but are forbidden to applaud. Being a courtier in “Raymonda” or a gritty butcher in “Romeo and Juliet,” is a thankless job. But in a full-length story ballet, someone has to blend into the crowd. Apart from having a love of dance and strong legs, supers, who generally are decades older than the dancers with whom they share the stage, must also be reliable.”
Complex Ideas Made Child-like
“It is invigorating to see adults make complex ideas available to children. But there is a less welcome, regressive trend in evidence, too – authors who hijack children’s literature to make their work more cosy.”