Here are a few posts from last week's Greenpage that might be worth your time...
Physical Assault, Vomit in the Aisles, Stalking in the Streets: Why Audience Misbehavior Has Gotten Out of Hand
Playbill: When Pepper, a then-18-year-old usher at a long-running Broadway play, signed on to work in a Broadway house, it was a dream. Within a month of beginning the job, it quickly became a nightmare when a patron followed her from the theatre to the subway, verbally berating Pepper for refusing to replace a drink the patron had spilled. Eventually, Pepper had to flag down a police officer in the subway station to keep the patron from following her onto the train. She feared for her life. Pepper’s story is, regrettably, not unique.Actors’ Equity’s open membership program becomes permanent
Broadway News: In a Feb. 8 email to members, Actors’ Equity Association declared that the union’s open membership initiative, Open Access, will go from a temporary program to permanent policy.Why Aren't More Shows on Broadway Being Live Streamed?
Playbill: A couple of weeks ago, Playbill published an article called “Why You Can’t Stream Broadway Shows,” explaining the many issues (upfront cost, unions, residuals, fear) that keep Broadway producers from filming their shows and making it available for viewers on demand. Our readers had A LOT of opinions on the topic. One of the recurring questions that came up was, “What about live streaming?”Disney World's Star Wars dinner theater struggles to succeed
Boing Boing: If Disney learns the very expensive lessons they've paid for in developing, running, and now apparently slowly shuttering the Star Wars: Galactic Starcruiser it'll have been well worth it. While Disney clearly fumbled the entire marketing and forecasting side of the equation and probably didn't understand what they were building — reviews of the experience for fans of it are fantastic.Has the Pandemic Changed Auditions Forever?
Dance Magazine: On the topic of auditions, dancers tend to be split: Some feel they do their best dancing in the high-pressure, fast-paced environment of an open call, while others feel exactly the opposite. Choreographers and directors sometimes struggle with large auditions as well. After all, a few hours isn’t really enough time to get to know each dancer. Longer audition workshops—while allowing everyone more time—can also have major drawbacks. Few dancers can afford a long, unpaid commitment, and many companies even ask dancers to pay for these workshops.
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