Here are a few posts from last week's Greenpage that might be worth your time...
Industry Editor Exclusive: The Real Results of Equity's Lab Agreement Strike
www.broadwayworld.com: A couple of weeks ago, Actors' Equity Association ended its strike against the Broadway League related to development of new work. Most of the press regarding the strike and its termination is related to the Lab agreement--after the strike, and a #NotALabRat social media movement, Equity members will receive some profit participation for what we used to know as Labs. But there is a lot of the story that this spin misses.
Oscars: audio description brings film to life for blind people, it deserves an award too
theconversation.com: Awards season is in full swing but as Oscars weekend approaches there is one group of cinema professionals who will not be preparing to take their place on the read carpet: audio describers.
For blind cinema goers, audio description is a crucial part of any film. It is just as important as acting, cinematography and score. Yet many sighted movie fans have no idea that audio description even exists – and it is not a skill that is awarded at the BAFTAs, Oscars or any other of the countless film institute ceremonies around the world.
Are community choruses exploitative?
Exeunt Magazine: The concept of community theatre is evolving. A new wave of productions are casting local people in commercial shows, alongside a principal cast of professional actors. In the past few years, top London theatres including Almeida Theatre, Bush Theatre, Lyric Hammersmith, Young Vic Theatre, Theatre Royal Stratford East and National Theatre have all made use of this casting method. But it isn’t exclusively a London thing; the Actors’ Touring Company production of The Suppliant Women cast a new group of women in each city of its UK tour. More recently, Royal and Derngate’s Our Lady of Kibeho and Eclipse’s Princess & The Hustler join the list of productions that feature a community cast.
Harm Reduction in the Storefront Theatre Community
HowlRound Theatre Commons: A collaborator of mine, the poet, playwright, and activist Kristiana Rae Colón, once asked me: “What would a people-centered theatrical process look like?” As a director, it was definitely one of those record-scratching moments. I had thought my process was great, that the rehearsal room was a joyous one. And while it did have its moments, I realized it didn’t truly center people; I was focused on telling the story. By operating from the assumption that everyone in the room was there to tell the story at all costs, the rooms I created required a sacrifice for the good of the play both, from myself and those working with me. After all, the show must go on, right? I have harmed people, or, more specifically, I have allowed those under my leadership to be harmed by the steadfast practicing of this adage that every theatremaker is taught as Truth.
ASCAP, BMI Issue Joint Statement on Reforming Consent Decree
Variety: With the U.S. Department of Justice (DOJ) evaluating the future of the BMI and ASCAP consent decrees, there has been much discussion and concern throughout the industry about the potential long-term impact. This is not surprising, since modifying or sunsetting the decrees would have far-reaching implications for the entire music business. Given that BMI and ASCAP are at the core of this issue, we feel it is important to share our perspective on how potential changes to our decrees could benefit all involved – if done right.
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