And that would certainly be correct. With #MeToo, Black Lives Matter, and other groundbreaking changes shaking American life, the theater has finally begun to openly talk about its fundamental and ongoing inequality. Indeed, sometimes the story is just a verbal story, as evidenced by a toothless statement on the company’s website. But more than ever, practitioners and critics are asking difficult questions about how to make actors, how to make plays, how to make seasons, how to make money, that is, how to make plays.
it’s about time. For too long, the industry has accepted all kinds of injustice and injustice, perhaps at the cost of inevitable greatness. It has allowed working conditions and wages to approach Dickensian in some cases. Bullies like producer Scott Rudin terrorize their subordinates for the benefit, or for what we admire as a demand for art, and male sexual misconduct like Harvey Weinstein. It laughed because it winked at. In the process, the theater, like most other forms of art, is probably more intense and neat to keep the door closed to people who haven’t yet joined the club because of race, class, or connection. I found a way.
Great lead
A more fascinating story that you have to read to the end.
Playwright and artistic director Israel Horovitz, director Gordon Edelstein, Casting Director Justin Huff, Actor Kevin Spacey and costume designer William Ivey Long. Actually, long Those who have denied accusations of sexual abuse Not so on the sidelines by at least two ex-assistants. He”How to break upDespite producing “Musical Diana” in 2020, his work at the show was nominated for a Tony Award at a ceremony honoring his achievements at the theater on Sunday, June 12.
But perhaps when the existential crisis of Covid-19 suddenly stopped decades of deep-seated practices, we are finally approaching an inflection. What is on the other side of that change is worth considering, including the potential benefits and costs of the future of fairer theater, where many are working hard to create. Wage transparency and fairness, the humane treatment of workers, respectful training of students of all kinds, employment and product diversity are important parts of the future.
And which sacred monster is not.
Still, if we’re approaching the twilight of the great guys, the gods, some of those monsters are good at their work, and if you’re finally starting to face music, you should watch the song carefully. Probably. What are we losing when we expel them? What would you lose if you didn’t?
As it happens, Musical history is a good place to look for answers. In a way that musical theaters incorporate and exaggerate all the qualities (and problems) of non-musical theaters, some men reflexively call them Broadway musical greats. “Oklahoma!”, “Gypsy,” “Chicago,” etc. — Strasburg and his similar traits were incorporated and exaggerated.
