One Powerful Family Creates Dance Spectacles In Spain

The family isn’t new to the club or dance game. “They are the Medicis of raving, with a dynasty spanning back to 1870. Six generations of Arnaus have worked in entertainment, from a 19th-century ancestor who opened Café Josepet, the first social club in Fraga, 95 miles west of Barcelona, through to 50s-era music halls and 80s electro clubs.” And they want to keep expanding.

Time For Asian-Americans To Forgive ‘The Joy Luck Club’?

“If you want to see a community turn against an artwork that depicts them, make it the only one. If that artwork is by a woman, about women, and openly feminist, half the job’s already done. … [The Joy Luck Club‘s] greatest achievement — becoming the most prominent example of Asian-American representation on screen for a quarter century — is also what has relegated it to being a relic and, for many Asians, an embarrassment.” Well, argues Inkoo Kang, it’s time to get over all that.

A Color-Blind – Make That ‘Color-Inclusive’ – Film Of ‘David Copperfield’

In the upcoming adaptation by Armando Ianucci (Veep, The Death of Stalin), Dev Patel takes the title role, with black, Asian, and white actors spread throughout. Says producer Kevin Loader, “I think we felt this was how you’d get the best cast more than anything else. And suddenly you can have Benedict Wong coming in to play Mr. Wickfield, and he’s hilarious. He wouldn’t have been cast in the BBC version of David Copperfield.”

New York Times And Guardian Theatre Critics Get Together And Compare Their Greatest-Play Lists

Earlier this summer, the Times critics got together and hashed out their choices for the 25 best plays of the last 25 years; a month later, Guardian senior critic Michael Billington assembled his own list of Britain’s best scripts from the last decade. And on “one very sticky afternoon last month,” Brantley invited Billington over to his (un-air-conditioned) temporary London flat for a chat.

Empty The Museums – Most Of What’s There Belongs Elsewhere

Simon Jenkins argues for the return not just of artifacts looted from other countries, but pretty much any art not created for a museum or gallery: “I want to see the Parthenon marbles as Phidias intended, even if recarved by a computerised jig. … Sensible people would long ago have replicated them and sent the old ones back to Greece. … So many great works – not all of them – derive meaning from where they originated. Malraux was right: a museum is without walls, a place of the imagination.”