“First at University College Dublin and later at New York University, Professor Donoghue carved out a middle ground in the contested landscape of late-20th-century literary studies, standing opposed to both the politicized theories of the left and the traditionalist pieties of the right. He was an ardent opponent of deconstruction, and … [his] fierce aversion to the impositions of postmodern theory earned him a reputation as one of the last great humanist critics.” – The New York Times
Why Did Scott Rudin Step Back From Broadway? Maybe Not Just Because He’d Seen The Error Of His Ways
The key seems to have been Rudin’s high-profile, high-stakes production of The Music Man, set to start previews in December. While some of the key people involved in the revival reportedly showed “apathy” about the allegations of Rudin’s appalling office behavior, the two stars did not: Hugh Jackman told others he was “very concerned” but did not give an ultimatum, while Sutton Foster said publicly that she would go if he did not. – The Hollywood Reporter
Many Theatres Have Survived The Pandemic So Far – But The Future Is An Open Question
Ironically, bringing audiences back may be the issue. “While this year looks fairly stable, a greater threat may still lie ahead. The emergency infusions of cash that kept so many companies afloat — as well as savings from furloughs and shifting artistic output online — will trickle away once they start staging shows again for live audiences, which could begin on a significant scale later this year.” – Washington Post
The Pandemic Is Changing City Centers, And Britain’s Fabled Department Store Buildings Are At Risk
Of course, online shopping has done the most damage to physical stores. But do they need to be demolished? “Gems facing the wrecking ball include Birmingham’s mid-century Rackhams, which is currently home to House of Fraser, Debenhams in Taunton, which was built in 1938 and extended in the 1960s, and Marks & Spencer’s store near Marble Arch in London, which was completed in 1930. There are also concerns about the future of Aberdeen’s brutalist John Lewis, and Browns of Chester – most recently part of Debenhams – parts of which date back to the 12th century.” – The Observer (UK)
Please, Someone, Everyone, Save The ArcLight Hollywood’s Cinerama Dome
The flagship theatre was special for multiple reasons, but one is that Hollywood often doesn’t seem very, well, Hollywood. “The ArcLight Hollywood, by contrast, represented the living, breathing movie industry. It accomplished the rare feat of melding Hollywood the real with Hollywood the ideal. With its costume and prop exhibits in the lobby and its Q&As with actors and directors, it showcased one of our city’s top industries in ways that made it shine so brightly that people from all over our area who have no interest in my neighborhood’s tourist traps traveled long distances just to go there.” – Los Angeles Times
What Artists Are Missing Most About Live Arts Experiences
One artist: “I miss the openings ! The free wine! And friends who you don’t get to see often, making rare appearances. Seeing art in the flesh was something I didn’t realise I needed so much for my own inspiration. It’s just not the same on the screen, even with photography. I want to see the print and the framing and all the details.” – The Guardian (UK)
There’s So Much Black Pain Onscreen, Including, Some Say, Way Too Much Painful Fiction
Right now, though not only right now, there’s an issue with Black horror. “Black horror faces a distinct paradox: The genre has long been a valuable tool for creators of different backgrounds to process their traumas, and for audiences to reckon with their own. Some Black writers and producers in America use horror and science fiction as a lens through which to examine the grotesquerie of the country’s racist systems and history (Jordan Peele, for example, made Get Out after the killing of Trayvon Martin). But productions that engage with that real-life terror can, at times, feel more like brutal reenactments of senselessness than purposeful works of art, unintentionally compounding some Black viewers’ traumas.” – The Atlantic
After Reports Of Abuse, Scott Rudin Claims He’ll ‘Step Back’ From Broadway
Rudin emailed the Washington Post on Saturday to issue an apology for years of causing pain to colleagues (and employees). He also wrote that he would be “taking steps that I should have taken years ago to address this behavior.” But specifics remain unclear; “Rudin declined to elaborate on the statement, or on what exactly retreating from ‘active participation’ entails.” – Washington Post