What We’re Reading
In need of an internet theatre fix? These are some of our favorite recent articles:
There is no shortage of concerts happening throughout New York. Hosting a night of original music has become something of a rite of passage for any young composer, which is partly due to the Off-Broadway producing model becoming too risky. A show like Jason Robert Brown’s “The Last Five Years,” which premiered at the Minetta Lane Theatre in 2002 and has become a cult classic, would probably be a concert today. “Anyone can be daunted by the fact that they have to put up an entire musical,” says John Johnson, who produced Oliver’s “35MM” and whose Broadway credits include “Hair” and “Betrayal.” “The energy and drive of these composers is unlike anything that I’ve seen. They come to these concerts, and there’s this rock ’n’ roll feel that I haven’t seen in the theater in a long time.”
The New York Times: The Only Certainty Is That He Won’t Show Up: The Right Way to Say ‘Godot’
Maybe Godot never appears because everyone is mispronouncing his name. More than 60 years after the debut of “Waiting for Godot,” Beckett’s absurdist drama about two vagabonds anticipating a mysterious savior, there is much disagreement among directors, actors, critics and scholars on how the name of that elusive title figure should be spoken.
The Stage (UK): Broadway’s continuing investment in new musicals
By contrast, Broadway is still investing in writers new and old. Right now, we are enjoying the fruits of that sort of long-term investment in its writers in London, with the UK premiere of 86-year-old John Kander’s The Scottsboro Boys at the Young Vic, even as Kander is seeing his latest show The Landing also premiering now at off-Broadway’s Vineyard Theatre.
But meanwhile, too, the Broadway and Off-Broadway roster for the current season is full to bursting with new work by other, somewhat younger composers who’s also proved themselves before and are excitingly back in the game.
The Martin Beck has a ghost, and the Martin Beck Ghost found her comfort in my dressing room […]
About three months into the run [of Into The Woods], I came in and two of my blushers were all the way down at the end of the table. I thought: That’s strange. I’d put them back, a week would go by, I’d clump everything together, I’d come in on Tuesday for the new week, and two blushers, again, would be all the way down at the end of the table.
Nobody was using my makeup. It wasn’t open, it was just all the way down at the end of the table. Then one week, on the mirror, there was the letter “M.” I thought: Oh, it’s just a thing on the mirror. I wiped it off. A couple weeks later, the letter “M” appeared again.
What theatre articles are you reading these days?