Here are a few posts from last week's Greenpage that might be worth your time...
As Shutdown Crawls On, Artists And Nonprofits Fear For Their 'Fragile Industry'
NPR: Jill Rorem, like many Americans, had made some special plans for the holidays. The Chicago native, whose legal work often brings her to Washington, D.C., was finally going to get to see the nation's capital with her arts-obsessed kids.
"I have very nerdy daughters, and they're super cool. Like, my oldest kid was Andy Warhol for Halloween," Rorem says. So they'd planned a grand tour of the city's museums, from the National Gallery of Art to the Smithsonian's National Portrait Gallery, maybe even the zoo if she could convince her husband. "They would have soaked it up. I always love watching things from my kids' eyes."
Then, the federal government partially shut down.
When a show's a Broadway hit, says Actors’ Equity, pay the tryout folks — but #NotALabRat is complicated
Chicago Tribune: Broadway announced some stunning financial results over the holidays: “Wicked” pulled in $3.4 million in a single week; $2.6 million thawed the ice at “Frozen”; $3.7 million circled back to “The Lion King”; an eye-popping $4 million happened in a single New York week of “Hamilton.” These are profit margins of 300 to 400 percent or more.
You didn’t even need to be a musical: Aaron Sorkin’s new dramatization of “To Kill a Mockingbird” took in $1.7 million. In a week. Atticus Finch would have fallen off his porch.
Court Dismisses Judd's Harassment Suit Against Weinstein
The Mary Sue: Ashley Judd has been talking about her experience with Harvey Weinstein for years. In 2015, she told Variety a story of being harassed by a then-unnamed Hollywood Studio mogul. In October of 2017—just before the resurgence of the viral #MeToo movement—she recounted the accusations again, this time naming Harvey Weinstein as that mogul.
How Ballet Legs Grew Higher & Higher
Pointe: "There's always a sense that the virtuoso is bleeding over into a realm of inappropriateness," says Ariel Osterweis, a dance and performance studies scholar at the California Institute of the Arts. "Classical forms change due to virtuosos. Because they're not wholly rejecting a certain style or form, they're just pushing the boundaries."
Can a black heroine fix the racist stereotypes infecting ‘King Kong’?
theundefeated.com: When King Kong opened on Broadway recently, actress Christiani Pitts became the first black woman in history to play Ann Darrow, the legendary damsel in distress who gets carted off by a gargantuan silverback gorilla on his way to the top of the Empire State Building.
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