Theatre

“Though private-equity firms are notorious for ruthlessly wringing efficiencies out of the properties they pick up, the investors who just bought one of Chicago’s most treasured cultural institutions contend a growth strategy is the only play that makes sense.” – Crain’s Chicago Business

“What it has taken me a year to realize is how much I also miss the community of the audience — the strangers surrounding me, obscured by the dark, who have tacitly agreed to escape and exalt and squirm together.” – Washington Post

The queen had the little playhouse built as part of her pretend village at Le Petit Trianon; she and her friends attended plays and operas there and even performed themselves. (Her Majesty once played Rosine in Beaumarchais’s The Barber of Seville.) The theatre is now so fragile (much of the interior is made of papier-mâché over wire mesh, just like a stage set) that it can only be used for performances once a year or so, but it has the only surviving 18th-century stage machinery in all of France. – Apollo

Level Forward, a company whose founders include Abigail Disney, a grandniece of Walt Disney, said on Monday that it has won the rights to adapt Walter Tevis’s 1983 novel, which has become newly noteworthy thanks to the enormous success of last year’s streaming series adaptation on Netflix. – The New York Times

Over the last year, American Shakespeare Center—a $4.3 million theatre company in Staunton, Va., known for producing the Bard’s work in repertory with a stripped-down style and a resident company of actors—became a contentious, mistrustful, even traumatic place for many who had called it home. – American Theatre

The director of a play in tech rehearsal says of the theatre building, abandoned a year ago as the pandemic swept the world, “I walked in, it was very quiet and I found myself touching everything, it was hard to believe it was actually real and it was happening.” – The Age (Melbourne)

Presented as a “walking tour with theatrical displays,” and running Feb. 19-21, the performance was not a traditional narrative play, but rather a collection of six short individual vignettes performed within the storefronts of six separate businesses in Chicago’s Andersonville neighborhood. – American Theatre

“They’re our holy fools, who — even when no one is watching — keep the art’s sacred fires burning. Rehearsal isn’t so much a preparation-to-show as it is a kind of religious practice — as endless, deliberative, and open to inspiration as a Shaker meeting.” Helen Shaw reports on what’s kept them busy through the pandemic: their own original translation and staging of Bertolt Brecht’s The Mother. – New York Magazine

Weirder than ever before, no doubt. As the voters fill out their ballots this week and next, none of the shows they’re considering have been onstage for a year, and they can’t vote in a given category unless they’ve seen all the nominees. What’s more, one of the major awards has only one nominee, but it’s still possible for him to lose. – The New York Times

“There are so many benefits to all this stuff, It’s going to make theatre more accessible. It’s going to help tackle the issue of diversity. It’s going to enable us to tell stories in completely new ways. And I know from experience that it actually encourages live audiences to come to the theatre. It’s actually going to support the industry.” – The Stage

“This notion that we have to do something, that we have to find other ways to work. I was like, ‘Hello, this is an opportunity to just stop. Everybody just stop. Can we really not do that?’ I would say my track record is 50-50, but I’m more interested in looking than forcing things out.” – Los Angeles Times

Says the artistic director of a Twin Cities company, “I believe that theatre is storytelling and we are creating a new hybrid art form. It’s not quite theatre in that it’s video and not onstage, and it’s not exactly film or television because it’s live — but I still call it theatre.” Here’s a look at what exactly she and some of her counterparts are trying. – American Theatre

With the disclaimer that this wave of the research reflects current expectations about the pandemic, based on anxieties about vaccine distribution and the spread of COVID variants, and that theatregoers may adjust attitudes if they see prospects improve, the findings are unavoidably bleak for theatres. – American Theatre

“The biggest revelation, though, is that while a computer’s imagination touches, somewhat randomly, on themes of love, loneliness, clowning and performance, it is most often obsessing about sex, which may not be surprising, given the prevalence of internet pornography.” – The Guardian

The protocols these countries have developed the past year to permit some live performances depend greatly on the magnitude of the pandemic and the efforts by government to contain it. South Korea, for example, has operated some theater almost completely uninterrupted since the coronavirus manifested itself, and Australia has been inching back to widespread theater openings since the fall. American arts workers and theatergoers alike are entitled to ask: Why not us, too? – Washington Post

In a regular year, it’s North America’s largest summer theatre festival, but with the pandemic only barely starting to subside, Stratford is planning to present just a dozen or so performances, each featuring no more than eight cast members and running about 90 minutes, on two stages under large canopies outside their theatres in central Ontario. – Global News (Canada)

Actors get temperature-taking robots; there’s Hamiltizer for your hands if you’re rehearsing Hamilton; and then there are the actors who can’t hug – so Olaf and Elsa flash each other peace signs instead. Audience members have their own rules, and they won’t be at the stage door begging for selfies now either – but sales in Australia are strong and steady, giving producers and theatre workers hope. – The New York Times

“In a country where Turkish is the only official language, speaking Kurdish is sometimes seen as an act of rebellion.” (It is the mother tongue of nearly 20 million people in the Turkish Republic and another 20 million in neighboring countries.) “Teatra Jiyana Nû, or New Life Theater, has struggled to find stages to perform its repertoire, which includes original works and classics by Bertolt Brecht and Neil Simon.” – Hyperallergic

“I’ve debated different scenarios in my life about “What is Native?” And that is like the million-dollar question, at least within Indigenous communities at this moment. There doesn’t seem to be a consensus, and I love that, because it just demonstrates how diverse we are — that there is no singular definition — and that’s okay.” – New York Magazine

In a feature interview for The New York Times Magazine, the co-founder of the famed, and now troubled, improv company and school said, “It’s been brutal for us. We’re basically using the fire of COVID to start some new version. We’re changing our school and our theater to not-for-profit.” (She and her co-founders have said they’ll give up leadership of UCB when that happens.) “Whether or not we’ll be able to get there, I don’t know.” – Vulture

It’s an honorary, spokesperson role during a year when Fringe Fest may be online or may be in-person, or both, depending. Fleabag got its start at Fringe in 2013. Waller-Bridge: “From leaking caves to cobbled streets to the glamour of the Traverse Theatre up to Arthur’s Seat, this festival is a beating heart of an industry that has been all but crushed by the pandemic, and I’m proud to be a part of the fight with the Fringe Society for its much needed survival and glorious return.” – BBC