Theatre

“By one count, Broadway is directly responsible for nearly 100,000 jobs in New York City alone and, as a leading attraction for people who travel to the city, it has an economic impact of nearly $15 billion.” (video plus transcript) – PBS NewsHour

From “The Elephant Man” to “Chicago,” “Cats” to “Thoroughly Modern Millie,” Huntley was the designer behind the wigs and often-elaborate locks that helped define the lasting visual impression of some 300 projects, earning him a special Tony Award in 2003. – The New York Times

Paul Huntley has been doing wigs for so long that he can remember helping construct Elizabeth Taylor’s braids for Cleopatra. He’s been on Broadway since 1973. But now, after a fractured pelvis, a pandemic shutdown, and the delay of his final show – Diana – it’s time to wind down and move back to London, he says. “There is no work to be had, so it was a wise thing to do. And I’m in my late 80s, so I think it was time.” – The New York Times

With joy. No, truly: “We must now work urgently, with purpose, centered in joy. … This is not joyful expression solely for the purpose of joy; they are the tools that work in community and can withstand great stress.” – American Theatre

Performances for kids in schools are the only ones allowed under current COVID restrictions, so puppet shows are the only live theatre happening in France now. “The situation for French puppeteers is bittersweet. While it constitutes a return to their roots, as children remain their most faithful fans, many of them have worked hard to position the form as more than family-friendly fare.” – The New York Times

It was with no small amount of happiness that Center Theatre Group this week said it had generated more than $700,000 through a single fundraising event: a boisterous Zoom party featuring an impressive list of theater makers and celebrities. The event was part of the RWQuarantunes program, launched last year by WME partner Richard Weitz and his teenage daughter, Demi, to raise money for groups devastated by coronavirus shutdowns. – Los Angeles Times

Whether or not onscreen theater feels like theater may depend on whether it offers a feeling of liveness, with all the potential for error and surprise and invention and anything-could-go-wrong-at-any-moment contingency that liveness affords. – The New York Times

“Are we going to come out of this moment with a new model or new models? No. But what if we were in a constant state of evolving our model? What if we didn’t do what we just did … and get so entrenched in it that getting out of it and moving past becomes this national conversation and crisis? What if we were always evolving in some way? – Brooklyn Rail

“The pandemic closed the city on March 13, the eve of the opening of Miami New Drama’s first musical. To keep the 5-year-old company going, [artistic director Michel] Hausmann … commissioned seven notable playwrights — five Latino or Latina, two Black — to write short works that would fit under the ‘Seven Deadly Sins’ rubric. … Guides led audience groups of 12 from store to store, where they listened to the actors over iPods Velcroed to their bright red, socially distanced chairs.” – The New York Times

“In my research, it became clear how the techniques used in theatre are used in politics, which further cemented my opinion that theatre artists have the capacity to deeply understand the political machine and work toward dismantling the status quo, creating a more equitable and community-based iteration of governing.” – Howlround

Actress Seyi Omooba had been engaged to play Celie in the musical adaptation of Alice Walker’s novel in Leicester, England in 2019 — but she was let go when a 2014 Facebook post of hers containing anti-gay comments became public. She’s suing for breach of contract. But testimony before a tribunal revealed that Omooba had previously told her agents that she would never play a gay role. (The character Celie has a same-sex affair.) – BBC

“All in all, the oracular quality of these lines, their sheer wisdom, makes of Beckett, much against his will, no doubt, something of a sage.” – The Irish Times

Why did Jujamcyn switch from Ticketmaster to SeatGeek (more commonly a sports ticket app in the U.S.)? For one thing, SeatGeek is very commonly a contactless system, which now seems possible valuable for preventing viral spread. Also, there’s the ease of selling more things: “Beyond selling tickets, its technology could be used to allow customers to order food and drink, arrange transportation, purchase merchandise and get other information.” – The New York Times

Mark Swed thinks so: Bernstein “devoted four years to the musical. He wrote more music for it than for any other theater work. The show had a $900,000 sponsorship from Coca-Cola. It was billed as the musical of the decade. The show closed on Broadway after seven performances. It was the biggest artistic disaster of Bernstein’s life. The reviews were just awful, all of them. Critics called it ‘simplistic,’ ‘sophomoric’ and ‘a Bicentennial bore.’ Bernstein thought he had written his greatest show. He was right, and the simplistic, sophomoric critics were wrong.” – Los Angeles Times

The Broadway League and the American Theater Wing: “One, the much-delayed awards will be scheduled ‘in coordination with the reopening of Broadway.’ And two, the voting will take place from March 1 to March 15.” OK. Why not be flexible at this point? – The New York Times

With the country splintered, its institutions shaken, a book documenting a classic American play affirming shared life experiences and bedrock values seems especially timely. Published Jan. 28, “Another Day’s Begun: Thornton Wilder’s ‘Our Town’ in the 21st Century” is an oral history of a dozen or so recent productions of this famously stoical and spare play. It’s a drama so scrubbed of artifice that the first stage directions in the script are: “No curtain. No scenery.” – Washington Post

“I’ve done about 18 of these virtual shows, and I’ve learned things from them that I thought I had long understood after 20 years of being a professional comedian. People need comedy. At very least, they need to laugh — particularly when life is most burdensome and unwieldy. People need to laugh to be reminded what laughter feels like and why anyone would have laughed in the first place. It’s the defibrillator that sends a shock to the heart to restore a normal rhythm.” – Vulture

“Look around Rona, socially distanced float houses have become a thing. A really big thing. Apparently, if you to take the parades off our streets, our streets become the parade. From Gretna to Metairie to Bywater: Lavishly, lovingly, laughingly decorated houses are becoming as ubiquitous as potholes.” – NOLA.com

“Despite a state ban on live comedy performances, the pandemic hasn’t destroyed the New York comedy scene — it just pushed it underground. … Venue owners are finding ways to stay in business by exploiting exemptions set aside for religious services, indoor dining, and trivia nights (yes, really) as a means to get comics back onstage, even if that stage is in a church or on the subway.” – Vulture

Here are reports from Taiwan (“Shows go on – with precautions in place”), Italy (“A sharply divided theatre world”), the U.S. (“Struggling on despite lack of leadership”), Sweden and Denmark (“Back to lockdown”), and Greenland (“Cut off from the outside world”). – The Stage

The announcement means the departure of one of Washington’s longest-serving theater chiefs and an opening in a company with a prestigious literary pedigree: It is an arm of one of the world’s great classical collections, the Folger Shakespeare Library. – Washington Post

On New Year’s Day, Munawar Faruqui, a rising talent in India’s relatively new comedy circuit, was starting off a two-week tour with a gig in Indore when the leader of a Hindu extremist group accused Faruqui, who is Muslim, of “insulting religious sentiments” (a crime in India) and had him arrested. He had not yet even started his routine. Two courts have denied him bail, and the police say releasing him would cause “a law-and-order situation.” – BBC

“Digital performance has only exacerbated the definitional crises during this year of hard and soft quarantine. At a recent UCLA roundtable on the subject of the future of theater, I came to the conclusion that, even in this pioneering moment in which artists from different time zones can collaborate without ever coming into direct contact, place still matters.” – Los Angeles Times