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"Off-Broadway theater"
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Miller’s Food for Thought at Food For Thought Productions: A Talk with Susan Charlotte, 15 July 2021
This vignette of Arthur Miller’s engagement with an off-off-Broadway theater company toward the end of his life reveals both his love of live theater and his generosity.
Journal Article
American theatre : a chronicle of comedy and drama, 1969-2000
Volume Four of the distinguished American Theatre: A Chronicle of Comedy and Drama series offers a thorough, candid, and fascinating look at the theater in New York during the last decades of the twentieth century.
eBook
Democracy, “Democracy (Reprise),” and the Asian American Ambivalence of Soft Power
In Soft Power (2019), David Henry Hwang and Jeanine Tesori deconstruct and demonstrate the affective power of American musicals by reversing The King and I (1951). Soft Power satirizes democracy, white supremacy, and gun violence with whiteface, meta-propaganda, and a sweeping Broadway-style score. In the torch song “Democracy” and its reprise, the artists articulate Asian American ambivalence about US democracy: hope in its promise to lift everyone, despair in its rootedness in racism, and cognizance of musical theatre as a delivery system for ideology. This article uses repetition, interviews, reviews, and dramaturgy to consider Soft Power , soft power, and democracy.
Journal Article
Off-Broadway musicals since 1919
Although the venue Off Broadway has long been the birthplace of innovative and popular musicals, there have been few studies of these influential works. Long-running champs, such as The Fantasticks and Little Shop of Horrors, are discussed in many books about American musicals, but what of the hundreds of other Off-Broadway musicals? In Off-Broadway Musicals since 1919, Thomas Hischak looks at more than 375 musicals, which are described, discussed, and analyzed, with particular attention given to their books, scores, performers, and creators. Presented chronologically and divided into chapters for each decade, beginning with the landmark musical Greenwich Village Follies (1919), the book culminates with the satiric The Toxic Avenger (2009). In this volume, any work of consequence is covered, especially if it was popular or influential, but also dozens of more obscure musicals are included to illustrate the depth and breadth of Off Broadway. Works that introduced an important artistic talent, from performers to songwriters, are looked at, and the selection represents the various trends and themes that made Off Broadway significant. In addition to essential data about each musical, the plot and score are described, the success (or lack of) is chronicled, and an opinionated commentary discusses the work's merits and influences on the musical theatre in general. The first book of its kind, this highly readable volume will please both the theatre scholar and the average musical theatre patron or fan.
eBook
Close-Up: A Wide Shot: Expanding the Frame on Melvin Van Peebles: Ain't Supposed to Die a Natural Death: A Theatrical Counterpoint to Sweetback
This article examines the development and staging of Ain't Supposed to Die a Natural Death, situating it within the history of Black-themed theatrical production on and off Broadway. This history reveals Melvin Van Peebles's talent for moving themes, songs, narratives, and characters across media, from musical compositions to novels, theater, and cinema. Further, I argue that an understanding of Van Peebles's theatrical work opens an important pathway for contextualizing his better-known cinematic efforts. Van Peebles effectively took advantage of theater's narrative flexibility to create a diverse pantheon of characters that, by comparison, decenters Sweet Sweetback's Baadasssss Songl's (1971) male protagonist. Further, the theatrical mode allows for a more intimate and personal relationship with its audience, which Van Peebles used to directly challenge them politically--especially White audience members.
Journal Article
Broadway feels summer's heat
[...]the real proof auds had begun returning to town could be found at the high-profile tourist draws.
Journal Article
Latour and Balloons: Gaïa Global Circus and the Theater of Climate Change
Gaïa Global Circus, a theatrical performance that interrogates the contemporary climate change crisis, is the product of a collaboration between Bruno Latour and the playwright Pierre Daubigny that emerged from his activities with SPEAP, the Sciences Po—Experimentation in Art and Politics program. This review essay analyzes the September 22, 2014, performance of the play in New York in relation to Latour's lectures on the Anthropocene, Facing Gaia: Eight Lectures on the New Climatic Regime (2017), as well as the fuller range of publicfacing scholarship Latour has been involved with through SPEAP and museum collaborations in recent years. This essay also situates Gaïa Global Circus in the context of activist environmental theater, from Bread & Puppet Theater's Our Domestic Resurrection Circus to Arm-of-the-Sea Theater's eco-spectacles about the Hudson River watershed.
Journal Article
Critically Speaking: An Interview with Roy Sander
A fixture on the New York City cabaret scene and known as the \"Chairman of the Board,\" he is one of the industry's most prolific writers, having penned reviews, articles, and columns on the craft of cabaret for more than thirtyyears, including an eleven year stint at Back Stage covering cabarets/clubs as well as Broadway and off-Broadway theater. Sander is currently chairman of the Advisory Board of MAC and review editor of BistroAwards.com, where he writes reviews and commentary, serves as a member of the awards committee, and is associate producer of the annual awards ceremony. When I saw Lena Horne on Broadway it was in a theater that seated at least one thousand people, and her performance was intimate. [...]intimacy in cabaret is not related to the size of the venue. In cabaret, the voice is not upfront, but rather, in service to the lyric. [...]it sounds to me like big voices may actually get in the way when singing cabaret.
Journal Article