Thursday, October 09, 2008

The Afternoon Report for Oct. 8, 2008


This information, called The Afternoon Report, is provided by a daily email blast from the publicity firm of Boneau Bryan-Brown, which maintains this blog.

Broadway ticket sales stay strong despite falling economy
TicketNews – by Carol-Ann Rudy
“The lights on Broadway continue to shine in spite of the looming threat of a recession. The past week's ticket sales beat out both the previous weeks and the same week last season with $16,587,238 in total sales compared to $15,558,404 and $16,044,883 respectively. The figures for the season are equally impressive, $336,714,056 compared to $331,893,764 for last season.”


City gloom, arts boom: let’s face the music and dance, sing and laugh
The Times – by Tim Teeman
“The news may be grim and grimmer. But out there, away from the flickering cathode ray of doom that is the news every night, lies cultural riches in abundance. Quite simply, and in contrast to the depression and chaos gripping the financial markets, this is a cultural boomtime: from visual art to theatre, pop music to film, classical music and opera to comedy, there are brilliant things to go and see, enjoy - and then boast happily about at dinner parties afterwards. – Art and culture go hand in hand with patronage and philanthropy, and the concern must be that when the going gets grittier, the arts themselves will suffer. Forthcoming sales of postwar art in London and New York (in mid-October and early November) will be closely scrutinised for any sign that the art market bubble is about to burst.”


To Cash in on Content, YouTube Turns to E-commerce
Advertising Age – by Abbey Klaassen
“The website [YouTube] is working with Amazon and iTunes to let users buy and download music, games and other products when they watch a video featuring a particular song or item. –Our philosophy is one of choice and offering different ways for advertisers to engage with users," said Shishir Mehrotra, director of product management at YouTube.”


Yahoo to put Ticketmaster links alongside event listings
MarketWatch – by Wallace Witkowski
“Ticketmaster and Yahoo!, Inc. said Tuesday they entered an agreement where the Web portal will place Ticketmaster links near event information on Yahoo sites. Financial terms were not disclosed. Yahoo said the agreement marks the first time users will be able to purchase event tickets directly from Yahoo sites.”

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It Had to Happen: "Obama Drama"

CREATIVE DESTRUCTION

Presents

OBAMA DRAMA
A Political Theatrical Spectacular!
Inspired by the Man, the Myth(s) and the Michelle of Barack Obama
October 23-25, 2008 - 8PM
The Gallery at Access Theater

Can Barack Obama save America? Is he the most important presidential candidate of our lifetime? Join Creative Destruction (Nelson T. Eusebio III and Kelly Miller, Artistic Directors; Samantha Desz, Associate Producer) as we present OBAMA DRAMA: A POLITICAL THEATRICAL SPECTACULAR!, a weekend of seven world premiere short plays inspired by the Senator from Illinois. The three-day political, theatrical spectacular will feature plays written by Nastaran Ahmadi, Zakiyyah Alexander, Sarita Covington, Kimberly Megna, Harrison David Rivers, Matt Schatz, and Tiffany Rachelle Stewart. OBAMA DRAMA runs from October 23-25 at 8PM at The Gallery at Access Theater.

Creative Destruction commissioned seven playwrights to respond to Barack Obama directly ― to dramatize what most inspired them about the man and his historic Presidential nomination. The resulting plays are both diverse and electrifying. A sampling of the OBAMA DRAMA entertainments include: Nastaran Ahmadi's "Politico Mayhem," a zany comedy about an Obama supporter who locks herself underground to transmit a podcast of Obama Hope to Hopeless Liberals. Matt Schatz's "Pinning Hope" is a domestic, indie-folk musical about Barack, Michelle, and their search for that elusive American flag pin. Writer/performer Sarita Covington delivers "Back Alley Blindness: An Ode to Michelle" a spoken word performance piece about the dire importance of Michelle Obama and this election to the future of all Americans. Plays by Zakiyyah Alexander, Kimberly Megna, Harrison David Rivers, and Tiffany Rachelle Stewart complete the evening.

The creative team for OBAMA DRAMA includes directors Carlos Armesto, Nelson T. Eusebio III and Jose Zayas; Catherine Tate (Production Manager), Maiko Chii (Scenic Designer), Kate Cusack (Costume Designer), Sharath Patel (Sound Designer), Shawn Sedaro (Musical Director/Guitarist) and Jason Robinson (Graphic Designer). OBAMA DRAMA is produced in association with Samantha Desz, DownTownTheatre Company.

The cast includes Ashley Bryant*, Arlene Chico-Lugo, Caitlin Clouthier*, Sarita Covington*, Wen-Chuan Dai, Siho Ellsmore*, Ariel Estrada*, Crystal Finn*, Ryan McCarthy*, Tom Everett Russell*, Derrick Sanders, Tiffany Rachelle Stewart*, Chandra Thomas*, and Laura Weisinger*. (*These actors are appearing courtesy of Actors' Equity Association.)

OBAMA DRAMA is Creative Destruction's inaugural production. The company, founded by co-Artistic Directors Nelson T. Eusebio III and Kelly L. Miller in New York City in 2008, is dedicated to the production of diverse, political, viscerally immediate theater.

Creative Destruction seeks to create theatrical assaults on the senses through cultural guerilla warfare. We're dedicated to the idea that creativity, innovation, and cross-disciplinary collaboration are the hallmarks of theatre in the 21st century. Creative Destruction is formed from the principle of guerilla warfare tactics - a small group of individuals that create large scale change through the creation of dramatic mayhem. We seek to create this mayhem through the commissioning of new works, cross-disciplinary collaboration, supporting artists and infusing our work with the joy of creation.

OBAMA DRAMA runs October 23 – 25, 2008 at 8PM at The Gallery at Access Theater in Manhattan (380 Broadway, 4th Floor). Tickets for all shows are $18.00 and can be purchased online at www.brownpapertickets.com. For more information about the show, please go to www.CreativeD.org.

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Blue Coyote Reading Series Presents "Torrents"

As per a press release:

Blue Coyote Reading Series
Presents

Torrents
A reading of a new play by Robert Attenweiler

The locals are disappearing, the militia is uprising, and the local carpenter is healing dead dogs.

Something's coming.

A story about family, America, and a loss of faith in both, TORRENTS blends the regional crime stories of the Coen Brothers with the absurd viciousness of Martin McDonagh.

Friday, October 17th, 8pm
Access Theater Gallery
380 Broadway, 4th Floor

Admission is free, but seating is limited.
Please RSVP at bluecoyote@bluecoyote.org.

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Oliver Platt to Star in the Broadway Revival of Guys and Dolls

As per the press release:

THE AMERICAN MUSICAL COMEDY THEATRE MASTERPIECE
GUYS AND DOLLS
RETURNS TO BROADWAY

STARRING TONY AWARD NOMINEE OLIVER PLATT AS NATHAN DETROIT

ADDITIONAL CASTING TO BE ANNOUNCED SHORTLY

THIS BRAND NEW PRODUCTION TO BE DIRECTED
BY TWO-TIME TONY AWARD WINNER DES McANUFF
AND
CHOREOGRAPHED BY DRAMA DESK AND OUTER CRITICS CIRCLE AWARD NOMINEE SERGIO TRUJILLO

PREVIEWS BEGIN FEBRUARY 3, 2009
OPENING NIGHT IS MARCH 1
AT BROADWAY'S NEWLY REFURBISHED NEDERLANDER THEATRE


(New York, NY - October 8, 2008) Lead producer Howard Panter for Ambassador Theatre Group and co-producers Tulchin/Bartner and Darren Bagert announced today that a brand new production of GUYS AND DOLLS, directed by DES McANUFF, the Tony Award-Winning director of Jersey Boys, will begin previews on Broadway on February 3, 2009 at Broadway's Nederlander Theatre (208 West 41st Street). Opening Night is March 1.

Starring Tony Award nominee OLIVER PLATT as Nathan Detroit, with additional casting to be announced shortly, this brand new production of GUYS AND DOLLS marks the first joint Broadway project by two-time Tony Award winning director DES McANUFF and Drama Desk and Outer Critics Circle Award nominated choreographer SERGIO TRUJILLO since their collaboration on the Tony Award winning musical Jersey Boys.

Packed with such classic hits as "Fugue for Tinhorns," "A Bushel and a Peck," "Adelaide's Lament," "I'll Know," "Guys and Dolls," "More I Cannot Wish You," "Luck Be A Lady," and "Sit Down, You're Rockin' the Boat," GUYS AND DOLLS features music and lyrics by Frank Loesser and book by Jo Swerling and Abe Burrows. Based on "The Idyll of Miss Sarah Brown" and "Blood Pressure," two short stories by Damon Runyon, it also borrows characters and plot elements from other Runyon stories, most notably "Pick the Winner".

The musical comedy was first produced on Broadway at the 46th Street Theatre, opening on November 24, 1950. It was directed by George S. Kaufman and starred Robert Alda, Sam Levene, Isabel Bigley and Vivian Blaine. The musical enjoyed an initial run of 1,201 performances, winning five 1951 Tony Awards including Best Musical.

Additional casting and design team will be announced shortly.

BIOGRAPHIES
OLIVER PLATT (Nathan Detroit) returns to Broadway where he received a Tony nomination for Best Performance by a Leading Actor in Conor McPherson's Shining City. He can be seen in the following upcoming films: Ron Howard's Frost/Nixon as Bob Zelnick; the Harold Ramis comedy The Year One opposite Jack Black and Michael Cera; Nicole Holofcener's untitled film opposite Catherine Keener; and Roland Emmerich's epic 2012 opposite John Cusack, Thandie Newton and Amanda Peet. Additional theatre credits include the Lincoln Center production of Ubu; Jules Feiffer's Elliot Loves, directed by Mike Nichols; and his acclaimed performance as Sir Toby Belch in Brian Kulick's Twelfth Night. He received Golden Globe and back-to-back Emmy nominations for his portrayal of Russell Tupper in Showtime's Huff as well as an Emmy nomination for Outstanding Guest Actor in a Drama Series for his portrayal as White House Counsel Oliver Babish on The West Wing. This year he was nominated again for Outstanding Guest Actor in a Drama Series for his recurring role on Nip/Tuck playing the flamboyant TV producer Freddy Prune.

DES McANUFF (Director) is a two-time Tony Award-winning director and was recently named Artistic Director of the Stratford Shakespeare Festival, where he is currently directing Romeo and Juliet and Caesar and Cleopatra (starring Christopher Plummer). His 2006 Broadway production of Jersey Boys garnered four Tony awards, including Best Musical, and now has additional companies in London, Chicago, Las Vegas, on tour, and upcoming in Melbourne. He is Director Emeritus of La Jolla Playhouse, which he headed for much of the past 25 years. Broadway credits (developed at the Playhouse): Aaron Sorkin's The Farnsworth Invention (2007); Billy Crystal's 700 Sundays (2004, Tony Award, Best Special Theatrical Event); Dracula: The Musical (2004); How to Succeed… (1995); The Who's Tommy (director/co-author with Pete Townshend, 1993 Tony Award Best Director of a Musical; 1997 London Olivier Awards Best Director/Best Musical); A Walk in the Woods (1988); and Big River (1985, seven Tonys including Best Director of a Musical and Best Musical). Additional productions directed at the Playhouse: The Wiz (2006); Zhivago (2005); Palm Beach (2005); Private Fittings (2005); Tom Donaghy's Eden Lane (2003); Tartuffe (2002); Michael Ondaatje's The Collected Works of Billy the Kid (2001). Film credits: Cousin Bette and The Adventures of Rocky and Bullwinkle (director), Iron Giant (producer), Quills (executive producer). Upcoming: a commission with the Metropolitan Opera for a new piece with Michael Korie and Michael Torke; adapting Yoshimi Battles the Pink Robots for stage with Wayne Coyne of the Flaming Lips and Aaron Sorkin.

SERGIO TRUJILLO (Choreographer) choreographed the 2006 Tony Award Best Musical, Jersey Boys, for which he received both Drama Desk and Outer Critics Circle Award nominations, and the Broadway musical All Shook Up. His most recent theatre credits include: Memphis (La Jolla Playhouse), Saved (Playwrights Horizons), Next to Normal (Second Stage), The Wiz (La Jolla Playhouse) and Zhivago (La Jolla Playhouse). In addition Sergio received critical acclaim for his dances in Mambo Kings (Golden Theatre, San Francisco). Other theatre credits; Disney's European smash-hit Tarzan, the national tour of All Shook Up, Kismet and A Tree Grows in Brooklyn (both for Encores!),the Off-Broadway Musicals Bare and The Great American Trailer Park Musical, Peggy Sue Got Married at London's West End and the revival of the Broadway musical Kiss Me, Kate in Tokyo, Japan. In Canada, Sergio choreographed the revival of the Sound of Music and the critically acclaimed production of West Side Story at the Stratford Festival. Other favorite theatre credits include; Kiss of the Spiderwoman at North Shore Music Theatre, The Wedding Banquet at The Village Theatre, a musical adaptation of Twelfth Night in Tokyo, Japan and segments of Chita Rivera's: Chita and All That Jazz. Sergio's Film and Television credits include: Broadway: The American Musical for PBS, The 14th Annual Comedy Awards starring Nathan Lane, Martin Short and Jane Krakowski, NBC's Presentation at Radio City starring the casts of "Will and Grace", "West Wing", "Scrubs" and "Law And Order". He is currently a judge on BBC Canada's Triple Sensation, which is completing its second season. He has staged musical numbers for salsa legend Celia Cruz, Los Rabanes, David Bisbal and Pilar Montenegro on Telemundo. His film credits include New Line Cinema's Woo starring Jada Pinkett. Sergio choreographed Salome (NYC Opera, Opera pacific and Baltimore Opera), The Marriage of Figaro (LA Opera) and was commissioned to choreograph a piece for Ballet Hispanico Hoy Como Ayer. In 2000 he had the honor of choreographing The 54th Presidential Inauguration at the Lincoln Memorial in Washington, D.C. Mr. Trujillo is the recipient of a 2003 Ovation Award for outstanding choreography in Empire: A New American Musical and three Dora Mavor Moore Award* nominations for outstanding choreography in Swingstep at the Elgin In 2000 he had the honor of choreographing The 54th Presidential Inauguration at the Lincoln Memorial in Washington, D.C. His upcoming projects include both The Adams Family and Memphis, both for Broadway.

FRANK LOESSER (Music and Lyrics) has been called the most versatile of all Broadway composers. His five Broadway musicals, each a unique contribution to the art of the American musical theatre, were as different from each other as they were from the theatre of their day: Where's Charley?, Guys And Dolls, The Most Happy Fella, Greenwillow and How To Succeed In Business Without Really Trying. Long before he wrote Where's Charley?, he was already known to America from the dozens of songs that had become enormous popular hits from his Hollywood career. He had supplied lyrics to the music of such greats as Jule Styne, Hoagy Carmichael, Burton Lane and Arthur Schwartz, among others, penning such standards as "On a Slow Boat to China," "Two Sleepy People," "Heart and Soul," "I Don't Want to Walk Without You," "Spring Will Be a Little Late this Year," "(See What) The Boys in the Backroom (Will Have)," "They're Either Too Young or Too Old" and his 1948 Academy Award winner, "Baby, It's Cold Outside." In a few short years, Frank Loesser forged only five Broadway musicals, but the Loesser impact continues to be seismic. In recent years, there have been major revivals of The Most Happy Fella, both on Broadway and at the New York City Opera (added to their permanent repertory); Guys and Dolls won the 1992 Tony Award for Best Revival and was a smash hit on Broadway all over again, running three years and becoming the longest running revival ever on Broadway; and How To Succeed in Business Without Really Trying opened on Broadway in 1995, with Matthew Broderick starring, and became another long running hit.

JO SWERLING (Book) Born in Bardichov, Russia, Swerling was a refugee of the Czarist regime who grew up on New York City's lower East Side, where he sold newspapers to help support his family. He worked as a newspaper and magazine writer in the early 1920s, then launched a playwriting career, including Street Cinderella, an early comedy for the Marx Brothers. He also wrote their first movie, the unreleased silent comedy Humor Risk in 1921. He scored a major success with the book and lyrics for the 1927 musical revue The New Yorkers and the 1929 play The Kibitzer, which he co-wrote with actor Edward G. Robinson. Swerling was brought to Hollywood by Columbia Pictures chief Harry Cohn to work on the screenplay for the Frank Capra picture, Ladies of Leisure, the first of several collaborations with the director. His dozens of screenplays in the 1930s and 40s include Platinum Blonde, Behind the Mask, Once to Every Woman, The Pride of the Yankees (for which he received an Academy Award nomination), Lifeboat, Leave Her to Heaven, and It's a Wonderful Life. He also provided some uncredited writing for the Gone with the Wind screenplay.

ABE BURROWS (Book) Born Abram Solman Borowitz in New York City, Burrows graduated New Utrecht High School in Brooklyn and later attended both City College and New York University. He began working as a runner on Wall Street while at NYU, and he also worked in an accounting firm. After he met Frank Galen in 1938, the two wrote and sold jokes to an impressionist who appeared on the Rudy Vallée radio program. Eventually, Burrows wrote, doctored, or directed such shows as Make a Wish, Two on the Aisle, Three Wishes for Jamie, Say, Darling, How to Succeed in Business Without Really Trying, Cactus Flower, Can-Can, Silk Stockings, Breakfast at Tiffany's, Good News (1974 revival), and many others. With his collaborator Frank Loesser, Burrows won a Pulitzer Prize for How to Succeed in Business Without Really Trying.

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Wednesday, October 08, 2008

Stay Tuned for a Major Announcement

Some of you know what it is, some of you do not. But I will be announcing something very soon.

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Sunday, October 05, 2008

On Your Guard, Saarsgard

CNN has an interesting profile, courtesy of the AP feed, of Peter Sarsgaard, who is making his Broadway debut in The Seagull. (I'm writing my review of the revival as we speak.)

He seems a bit normal, or at least normal enough, but the opening lede about the Brooklyn coffee bar being too too is just a little too too, you know.

Then again, I'm in mourning for my life...!

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Let's Welcome Publicist Katie Rosin to the Blogosphere

Just caught Katie Rosin's new blog for her theatre PR clients here.

Do check it out and add her to your blogrolls.

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Flux Ensemble Flexes

Received this email tonight -- I'll be very excited to see this.

FLUX THEATRE ENSEMBLE PRESENTS
The Angel Eaters Trilogy

THREE PLAYS IN REP BY JOHNNA ADAMS
Angel Eaters directed by Jessi D. Hill
Rattlers directed by Jerry Ruiz
8 Little Antichrists directed by Kelly O'Donnell

Begins November 3, 2008

Flux Theatre Ensemble concludes its 2008 Season of Transformation with the world premiere of Johnna Adams' epic Angel Eaters Trilogy. The Trilogy follows three generations of a family cursed with the gift of raising people from the dead. The three plays of the Trilogy, Angel Eaters, Rattlers, and 8 Little Antichrists, will run in rep beginning November 3 at The Wings Theatre, 154 Christopher Street. The production will run through November 22. On Saturdays, intrepid audiences will be able to catch all three shows in chronological order.

In Angel Eaters (the first in the trilogy), Joann, a slow girl growing up poor in 1930's Oklahoma, claims to talk to angels and raise animals from the dead. But when her father dies, the angel's message takes a darker turn. As her mother hires a pair of carnies to raise her dead husband, Joann struggles to understand if her growing power is good or evil, and whether she should fight God to bring her father back.

The cast of Angel Eaters is Tiffany Clementi, Ken Glickfeld*, Ian Heitzman, Catherine Porter*, Marnie Schulenburg, Isaiah Tanenbaum, Gregory Waller*, and Cotton Wright.*

Rattlers, set in the 1970's, follows the children of the survivors of Angel Eaters. Unwilling to accept her sister Kate's death, Ernelle kidnaps Osley, her ex-lover and uses dark methods of persuasion to convince him to raise Kate from the dead. Meanwhile, Kate and Ernelle's mother, believing her daughter was murdered, seeks revenge, while the two men who may have killed her share memories of the woman they loved. This hauntingly intimate play examines how love can drive good people to acts of unspeakable violence.

The cast of Rattlers is Matthew Crosby, David Jackson, Becky Kelly, Jason Paradine, Amy Stewart*, Jane Lincoln Taylor*, and Richard Watson.*

Set 20 years in the future, 8 Little Antichrists (the final play of the trilogy) imagines a dystopia where Disney Corporation runs jails and SONY clones workers. Skipping ahead two generations, 8 Little Antichrists follows Osley's (from Rattlers) grandchildren - Jeremy and Melanie - in their quest to stop the apocalypse and save the world from the antichrists. This story is the thrilling conclusion to a three play battle between good and evil, love and loss.

The cast of 8 Little Antichrists is Jake Alexander, Candice Holdorf*, Felicia Hudson*, Nora Hummel*, Elise Link, Joe Mathers, Rebecca McHugh, Zack Robidas, and August Schulenburg.

The scenic design for The Angel Eaters Trilogy is by Caleb Levengood; costume design is by Emily DeAngelis; lighting design is by Jennifer Rathbone; sound design is by Asa Wember; original composition is by Gerard Keenan; dramaturgy is by Kay Mitchell, and fight direction is by Shannon Michael Wamser.

Johnna Adams' play, Sans Merci, won the 2008 Reva Shiner Award and was a 2006 finalist for both the Princess Grace Award and the Abingdon Theater Company's Christopher Brian Wolk Award. This play was also a semifinalist for the O'Neill and Playlabs Festivals. She has twice won the OC Weekly's Best New Play Award (2006: The Sacred Geometry of S & M Porn, 2002: Cockfighters). Cockfighters won a silver medal in the 2003 Pinter Prize and was a finalist in the 2002 playwrights First Award.

Director Jessi D. Hill (Angel Eaters) was most recently Artistic Director of Stage Left Theatre Company in Chicago where she directed and/or produced over 40 world premiere new plays. While living in Chicago from 1997-2004, she worked at some of the city's finest theatres including About Face, A Red Orchid, Chicago Dramatists, Court, Factory, Famous Door, Irish Repertory, Live Bait, Lookingglass, Mary Arrchie, Organic, Shakespeare Rep., Steppenwolf and Victory Gardens. She recently served as a Director-in-Residence at The Ensemble Studio Theatre. Jessi received her MFA in Directing from Yale School of Drama.

Director Jerry Ruiz (Rattlers) recently directed Under the Skin at Theatre 54 and Chicano Sketches at Yale School of Drama. Other credits: (NYC) Bohemian Lights (Repertorio Español), Translation of Signs (HERE Arts Center), Perfectomundo (EST); (Regional) Blood Wedding, Labyrinth of Desire, Murder of Crows, 4h Club. Upcoming: Waiting for the Hearse (Mixed Blood). Jerry is a two-time recipient of the Van Lier Director's Fellowship and is a Directing Fellow at Second Stage. Jerry received his MFA in Directing from UC-San Diego.

Director Kelly O'Donnell (8 Little Antichrists) recently directed August Schulenburg's Riding the Bull which won the New York Fringe Festival's Village Voice Audience Favorite Award. With Flux, she has also directed Life is a Dream and Rue. Kelly has worked at the Pennsylvania, Orlando and Utah Shakespeare Festivals, the Walnut Street Theatre, Arden Theatre, Alchemy Theatre, the Cape Playhouse and the Orlando Fringe Festival. She is a graduate of DeSales University's theatre program.

Flux Theatre Ensemble, founded in 2006, has already proved to be a vital force in the New York Independent Theatre community. Flux's mission is to use the transformative power of theatre to re-imagine the boundaries of human connection. Through new, classical, and community-based work, Flux explores the surprising evolution of the human spirit. Its plays are character-driven, globally-engaged and uniquely theatrical. Through continuous collaboration, Flux will grow an ensemble of multi-faceted theatre professionals whose work will challenge, delight and transform its community.

Flux currently consists of seven core members, six associate members, and continues to expand its base of affiliated artists through programs like Flux Sunday, a weekly play development series, and Have Another and Food:Soul, public performances sharing the progress of that development.

Flux is the proud recipient of two NYC Fringe Festival Awards, in 2007 the Village Voice Audience Favorite Award for August Schulenburg's Riding the Bull and in 2008 for Heather Cohn's direction of Other Bodies. Nytheatre.com calls Flux "a smart company, unafraid of challenging material, and they make a point of engaging their audience at every turn. I left the theatre excited to see what they offer up next."

The Angel Eaters Trilogy plays Monday through Thursday at 8:00pm, Friday at 7:00pm & 9:30pm, and Saturday & Sunday at 1:00pm, 4:00pm, and 8:00pm. Tickets are regularly $18 and may be purchased online at www.fluxtheatre.org or www.theatermania.com. For a great deal, audiences may purchase a 3-Show-Package for only $40. Visit www.fluxtheatre.org for details.

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Saturday, October 04, 2008

Arts Advocacy Update LX



The content below is from Americans for the Arts' Cultural Policy Listserv, email blast of October 1, 2008:

Accessibility experts: Cultural institutions are not inclusive of everyone with disabilities
Chicago Tribune - AP, 9/26/2008
Accessibility for all visitors "is a challenge for cultural institutions throughout the United States as they focus not only a building's physical accessibility, such as wheelchair ramps, but on making programs inside more inclusive so that people with all types of disabilities can enjoy them. This means incorporating new technology, hiring sign interpreters, changing exhibition placement and even rethinking seating arrangements at events. . . . But much still needs to be done, experts said."
Not trying to start anything by saying this, but what is the status regarding disability access for the Broadway theatres? Are they all officially up to code or does their landmark status (by and large, they're landmarked -- either exterior or interior or both) mitigate the public accessibility laws?


Congress OKs bill to improve broadband access
Washington Post - AP, 9/30/2008

"Congress has passed legislation that will require the government to keep closer tabs on who has access to the Internet and who does not. Supporters hope the Broadband Data Improvement Act will help policymakers better identify areas of the country that are falling behind when it comes to high-speed Internet access. The bill passed both houses of Congress, with the Senate approving a final version Tuesday on a voice vote."
Closer tabs on access or closer tabs on what they're accessing when they access? If you know what I mean...


Arts adding $121 million to local economy
Ventura County Star (CA), 9/30/2008
"Ventura County's arts organizations have grown dramatically over the past dozen years, making them a major player in the economy, a report released Monday says." Among the findings: "Almost 160 nonprofit arts groups are expected to bring more than $121 million to the county's economy in 2008, gauged by taxes, employment, and the value of goods and services. Arts- related businesses in Ventura and Santa Barbara counties and part of San Luis Obispo County produced nearly $2.1 billion in benefits."
The question, of course, is to what degree the publications, trade and otherwise, in Los Angeles and the rest of California will awaken to the potential rich harvest of advertisers and readers as a result of this commercial and artistic blossoming. Oh, right, advertising directors don't read...


Mayor kicks off new focus on arts and the city
Providence Journal (RI), 9/25/2008
"[Providence, Rhode Island] Mayor David N. Cicilline announced that the city is embarking on a cultural plan to explore the weaknesses, strengths and challenges facing the city’s arts and cultural community. . . . The objectives of Creative Providence: A Cultural Plan for the Capital City are: - To serve as a catalyst for city and statewide conversations about the evolution and sustainability of the arts.- To recognize artists, art administrators and cultural institutions as leaders who already shape the current environment.- To provide emerging arts leaders and experienced professionals with a forum to develop fresh ways of enriching the arts."
This is more important stuff than we know, for while Rhode Island is the size of Sarah Palin's political experience or fluency in civics, it is disproportionately active in terms of nonprofit arts. Here is the website for Creative Providence. Give it a read.


Up-and-Coming Neighborhoods: Great Buying Opportunities
BusinessWeek, 9/23/2008
"Want to know where the next hot real estate markets will be? Watch where the artists are living now. . . . Artists turned around Soho and the Lower East Side of Manhattan in the 1960s, '70s, and '80s, and then Brooklyn's Williamsburg in the 1990s. Now you'll find them in Bushwick and Bedford-Stuyvesant in Brooklyn, and Astoria in Queens. Similar trends are occurring in Boston, Los Angeles, San Francisco, Philadelphia, Miami, and Austin, Tex. BusinessWeek.com selected 15 urban neighborhoods that artists have discovered and where homeowners could see returns in coming decades."
Of course, I live in Astoria and I could have told you that back in 2003, when I moved here. But Bushwick, Brooklyn? Oh, baby, baby. Where's my Kevlar vest?


Congress passes bill to help save Internet radio
Washington Post - AP, 10/1/2008
"Congress has cleared the way for a potential agreement intended to save the emerging Internet radio market from a crippling hike in copyright royalty rates. The measure, which was sponsored by Rep. Jay Inslee, D-Wash., and now heads to the president, would green-light an anticipated deal between Webcasters and SoundExchange, a nonprofit that collects royalties for recording copyright owners from Internet radio stations and other digital radio services. The two sides have been negotiating new royalty rates following a March 2007 ruling by the federal Copyright Royalty Board that dramatically increased the rates that Internet radio stations must pay artists and record labels. Internet radio stations say the new rates -- which most but not all are paying -- could effectively put them out of business."
For my commentary on this story, I humbly ask you to watch the following, simply replacing the word "radio" with "Internet."




'Orphan Works' Copyright Law Dies Quiet Death
Wired, 9/30/2008
"Lost in the House of Representatives' push to pass $700 billion bailout legislation is the so-called Shawn Bentley Orphan Works Act of 2008. Late Friday, the Senate passed the measure and sent it to the House, where it landed dead on arrival." The House reportedly won't take up the measure, at least not until after the November elections."
This is going to be contentious. The whole "orphan" concept hasn't, in my view, been explained adequately to the artistic community. I imagine the reception to this idea will be surprisingly mixed. Indeed, how many artists die intestate?


Michigan GOP wants to drop biz taxes, cap film credit
MLive.com - AP, 9/26/2008
"A Republican-controlled Senate committee on Thursday voted to phase out a surcharge on Michigan business taxes over three years and to cap new tax breaks used to attract moviemakers to the state. Democratic Gov. Jennifer Granholm immediately opposed any effort to rein in the film incentives."
Bright. Real bright. No wonder Michigan's economy is going the way of the Edsel.


Tax amendment taking back seat on ballot
Star-Tribune (Minneapolis-St. Paul, MN), 9/27/2008
"The campaign to pass a state constitutional amendment to raise taxes for the outdoors, the environment and the arts may come down to whether voters see it as a handout to rich opera patrons or as boost for pastimes like fishing and biking loved by average Minnesotans. . . . Opponents argue that the campaign for the amendment -- which calls for a three-eighths percent increase in the state sales tax to raise some $276 million a year -- is being driven by the state's "liberal elite" to provide a 25-year taxpayer subsidy for the arts institutions they have long supported.
Here, too, the economic argument for the arts isn't being made, or at least isn't being made properly. Does biking and fishing drive the economy as a concert does? I'm being reductive and pseudo-snarky here, but the point -- and all the statistics, compiled during this decade and the last -- bear this out conclusively. This is about politics and the long-awaited and fully deserved destruction of the Republican Party, specifically the let-'em-eat-cake cruelties of Reaganomics.


Economy Expected to Take a Toll on Charitable Giving
New York Times, 9/29/2008
"To the list of big losers in the turmoil on Wall Street, add these: some big foundations. Several prominent foundations in the New York area have been particularly damaged by the recent collapse of Lehman Brothers and Bear Stearns and the difficulties of the American International Group. The biggest among them is the Starr Foundation, which held 15.5 million shares of A.I.G. in May. Its assets have fallen by at least $1 billion since the end of 2006, or by nearly one-third of its total value at that time."
That's nothing. Foundations determine their giving by three-year rolling averages. So, just like what happened after Sept. 11 -- funding decreased starting in 2003 and then 2004, just wait for 2010 and 2011.

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Friday, October 03, 2008

Elaine Stritch: At Liberty -- Cute Name

And what a concept!

Perhaps I'll have occasion to understand Stritch's brilliance, in terms of title and otherwise, very soon.

Me being cryptic? Yes.

More later.

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Thursday, October 02, 2008

Under the Weather

Had a bad night and not feeling well today. May post later or may just nap.

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Wednesday, October 01, 2008

John McCain Didn't Have a Stroke (Beyond a Stroke of Bad Sarah Palin Luck)

Wow.



Let me add: Katie Couric is redeemed!

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Did John McCain Have a Stroke?

Such is the buzz in certain quarters of the left today. Will look for a version of the video that isn't slowed down.



I'm not especially convinced, but it's interesting...

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Town Hall Meeting to Address the Paucity of Productions of Plays By Women

This just came across the transom (see below). I could make a snarky comment a la Theresa Rebeck's snarky piece in the Guardian and my response to it, but clearly this event is important and it does, most important of all, get people off their asses into a proactive, problem-solving state.

Town Meeting
With Artistic Directors
How to Bring More Plays By Women To Production, Now


Monday, October 27, 6 pm (doors open at 5:30)
at New Dramatists
44th Street between 9th and 10th Avenue

Introduction by Julia Jordan
Facilitated and Hosted by Todd London

The Following Theaters Have Been Invited:
New York Theater Workshop, The Public, Soho Rep, Rattlestick, The New Group, The Vineyard, Playwrights Horizons, Second Stage, The Roundabout, Lincoln Center Theater, Manhattan Theater Club, MCC, Primary Stages, The Atlantic

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Beast Event at NYTW

Although I didn't give Michael Weller's Beast the most amazing rave of all time in the New York Press, I want to bring this event at New York Theatre Workshop (press release below) to the attention of everyone.

NEW YORK THEATRE WORKSHOP PRESENTS
A PRE-PERFORMANCE FILM AND CONVERSATION
IN CONNECTION WITH ITS PRODUCTION OF
BEAST
FEATURING DOCUMENTARY PHOTOGRAPHER NINA BERMAN
AND PLAYWRIGHT MICHAEL WELLER

New York Theatre Workshop will host a pre-performance event showcasing the influence of documentary photographer Nina Berman’s work on the origin of Michael Weller’s play Beast on Friday, Oct. 10, at 6:30pm. A short film about Berman’s Purple Heart photograph collection—photos of soldiers injured in the Iraq War, some of which have been featured in The New York Times Magazine—will be shown, followed by a conversation with Berman and Weller, who serves as a mentor for the Iraqi War Veterans Writers Project. The event will take place in the 3rd Floor Rehearsal Studio at New York Theatre Workshop at 83 East 4th Street. This event is free and is being offered in conjunction with the Workshop’s production of Michael Weller’s play Beast, a fever dream in six scenes about two disfigured Iraq War veterans who go on a marauding adventure across America.

To reserve a seat for this event, email marketing@nytw.org. To purchase tickets for Beast, visit www.telecharge.com. For more information on Nina Berman and her photographs, visit www.ninaberman.com.

Nina Berman is a documentary photographer with a primary interest in political and social landscape. Her first monograph was “Purple Hearts—Back From Iraq” a collection of photographs and interviews with U. S. soldiers wounded in the war. The book was made into a documentary film of the same name. Her 2006 “Marine Wedding” portrait, which shows a disfigured marine with his young bride on their wedding day, is an iconic image of life during wartime. Berman is on the faculty of the International Center of Photography in New York City. She is the recipient of two World Press awards and numerous Pictures of the Year awards.

Michael Weller is widely known for his plays Moonchildren, Fishing, Loose Ends, Spoils of War and What the Night is For. His films include Hair, Ragtime and Lost Angels. Weller helped establish (and now serves as Supervising Mentor of) The Mentor Project of the Cherry Lane Theatre. Weller has won multiple awards including a Kennedy Center Fund for New American Plays Award, an N.A.A.C.P. Outstanding Contribution Award and a Critics Outer Circle Award. He has also received an Academy Award nomination.

Beast plays through Sunday, October 12, at New York Theatre Workshop, 79 East 4th Street, between Second Avenue and Bowery. The regular performance schedule is Tuesday at 7:00pm, Wednesday through Friday at 8:00pm, Saturday at 3:00pm and 8:00pm, and Sunday at 2:00pm and 7:00pm. Tickets are $65 and may be purchased online at www.telecharge.com, 24 hours a day, seven days a week or by phoning Telecharge.com at (212) 239-6200. For exact dates and times of performance, call Telecharge.com. For more information about Beast, visit www.nytw.org.

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The Death of Theatre Criticism? Arts Journalism? Journalism?

I hate to begin this month on a downer, but with the New York Sun folding and all kinds of other bad news coming out of Journalism World (I didn't know Creative Loafing, which owns the Washington City Paper, is in bankruptcy, for example), I'm feeling pretty down on this thing that I supposedly do. That I never wanted, of course, to do in the first place.

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And We're Back...

Got back this morning on a 6:30am flight from Raleigh. Pretty sluggish today, as y'all might imagine. Will likely blog again starting tomorrow. I have a list of stuff to put up.

LJ

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