Here are a few posts from last week's Greenpage that might be worth your time...
How Accessibility Works at the Wheelock Family Theatre
HowlRound: Wheelock Family Theatre is the most comprehensively accessible theatre in the Boston area, and I spoke with Kristin Johnson, WFT’s inclusion specialist and in-house ASL consultant to get a full menu of what they have available, and how each of these works.
'Generous' Contracts Could Be San Diego Opera’s Biggest Liability
KPBS: As the San Diego Opera prepares to possibly shut down at the end of this month, its contracts with General Director Ian Campbell and his ex-wife, Ann, may be one of the company’s biggest liabilities.
But a former head of the Internal Revenue Service's nonprofit division told KPBS that it’s not just the potential for severance payouts that could be problematic.
Don’t Think Pink (in Reverse)
Selling Out: It doesn’t feel like very long ago that marketers were being admonished about their shallow perceptions of how to appeal to women. The assumption was that marketers, mostly being men, would make naïve and patronizing overtures to a female audience, epitomized by “pink think.” This is where you take the thing you made for a man and make it pink or in some other way, pretty and dainty. (Not that this has stopped entirely. The “Bic for Her” phenomenon is a recent example.)
Vegas Magician Stagehands Suing Over Wage Dispute
Pollstar: A Feb. 15 federal wage-abuse lawsuit filed by seven stagehands alleges that over the past three years the veteran Las Vegas illusionist sometimes made them work 14 hours a day and seven days a week without paying overtime.
A Jan. 3 state court lawsuit lodged by Copperfield business entities Backstage Employment and Referral Inc., David Copperfield’s Disappearing Inc. and Imagine Nation Company Inc. accuses six stagehands of breach of contract, conspiracy and disclosure of trade secrets.
The Broadway Effect in Rocky, Aladdin, Les Miz
HowlRound: The musical Aladdin on Broadway has gotten rid of Abu, Aladdin’s trusted if mischievous monkey companion, as well as the pet tiger Rajah, both of whom were in Disney’s 1992 animated film. In Rocky on Broadway, you cannot see the real streets of Philadelphia, nor in Les Miserables on Broadway can you see the performers’ nostrils; both loomed large in the film versions.
About a third of the forty two new shows in the 2013-2014 Broadway season were either adapted from a movie or so closely associated with one that the film serves both to lure an audience into the musical, and to raise audience expectations—the former a godsend for the producers, the latter a terror for the creative team. How do you offer something both comforting and exciting, familiar and surprising; what can Broadway offer as compensation for the loss of Abu, Philadelphia and Hugh Jackman’s shapely nose?
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