Here are a few articles from last week's Greenpage that might be worth your time:
Will 'Spider-Man' Injure More Actors?
www.backstage.com: Broadway’s “Spider-Man: Turn Off the Dark” has finally disentangled itself from the 17-month legal dispute between former director Julie Taymor and the show’s current producers. With the settlement, 8 Legged Productions—the entity behind the Broadway tuner—can now focus on boosting profitability, potentially through additional productions of the show outside New York. But can a show that gained early notoriety for injuries dealt to its actors in the Foxwoods Theatre’s made-to-order space safely launch in a touring version, or will traveling turn out to be Spider-Man’s kryptonite? (Sorry, wrong superhero.)
The Right Chair
HowlRound: I’m going to take the precarious position that, as designers, what we put on stage in front of an audience should never be an apology. Why should lack of resources become an excuse for shoddy craftsmanship, or for compromising the quality of what we are capable as artists?
Is this the final act for Nigeria's rich theatrical tradition?
BBC News: Theatre attendance in Nigeria's economic capital, Lagos, is dwindling as "Nollywood" - the country's prolific film industry - surges in popularity. This - along with the high cost of renting traditional venues - means that theatre producers may have to find cheaper, alternative venues for their plays.
Supersizing a 'Sunday in the Park'
NYTimes.com: What happens when you take a Stephen Sondheim chamber piece — “Sunday in the Park With George” — and produce it operatically, quadrupling the size of the orchestra?
Why Chicago's Comedy Tradition Is Unlike Any Other
www.backstage.com: Reduce Chicago to its deep-dish core, and you will see it is at once synonymous with blustery winds, baseball futility, and side-splitting comedy of the highest degree. It is not only the birthplace of ensemble comedy but also the breeding ground for generations of comedians since the 1950s. Chicago comedy began at the turn of the 20th century, when the city was a major hub for vaudeville. According to Douglas Gomery, professor emeritus at the Philip Merrill College of Journalism at the University of Maryland in College Park, “Chicago always trailed only New York in vaudeville stops,” with dozens of theaters, some—like the Academy of Music and the McVickers—with capacities of up to 2,000 seats. But vaudeville didn’t stand a chance against the emergence of the talkies. “By 1930 pure vaudeville had died,” writes Gomery, “crushed by Hollywood.”
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