Kamilah Forbes, artistic director of the Apollo Theater, speaks with Wes Jackson and P. Carl about the American theatre being a very slow-moving ship, genre-crossing for artists and organizations, systemic racism in the field, and more.
Catherine M. Young discusses the recent Broadway production of Oklahoma!, which she believes, despite inclusive casting and adventurous aesthetics, asks audiences to pay more attention to white men than anyone else.
Natasha, Pierre, and the Great Conflict Over Billing
7 December 2016
Matthew Clinton Sekellick unpacks the crediting dispute over the Broadway production of Natasha, Pierre, and the Great Comet of 1812, and the implications for the relationship between non-profits and commercial producers.
In the last couple of seasons I’ve become aware of a ticket scheme already practiced by some of our larger regional theaters, and currently under consideration at some where my plays are produced. And this practice goes by a very catchy and newfangled name. It’s being called “dynamic pricing.” But it’s not a new practice. It’s actually quite old, and has a more familiar name. It’s called "scalping".
Best & Worst Practices in Commercial/Not-for Profit Theater Partnerships
13 May 2013
The topic for this week's Howl will be Best & Worst Practices in Commercial/Not-for Profit Theater Partnerships: What's working well? What needs to change? We'll be using Tory Bailey's article Response to In the Intersection as a starting point.