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new york mag posts set list of our family guy concert
Our Family Guy event, last night at Carnegie Hall, was very cool, with a legion of besotted fans.
New York mag’s Daily Intelligencer blog posted the set list here. new york times raves about springer
Stunning opening night at Carnegie Hall.
Ben Brantley raved in the Times:
Will it turn out that the great American musical of the early 21st century is an opera born in Britain? A convincing case for the rights to that title was made by the celestial “Jerry Springer – The Opera,” the notorious show from London about the transcendent within tabloid television, when it opened Tuesday night in a gorgeously sung concert version at Carnegie Hall for a sinfully short run of two performances. Jerry Springer: The Opera – Website
Check out our website! And get your tickets before they’re sold out.
jerry springer – the opera in variety
Nice piece in Variety about Jerry Springer at Carnegie.
c’est duckie review in new york times
C’est Duckie’s New York Times review ran today. jewish princesses of comedy opens in miami
The Jewish American Princesses of Comedy opened tonight at the Spiegeltent, in Miami – plus the full story in the Miami Sun-Post
c’est duckie opens tonight
Sensational sneak preview last night.
C’est Duckie opens tonight – Playbill story here.
“commercial theatre” is a redundant term
I’ve said before that the word "commercial" should not be used to describe independently financed theatrical production. The word would never be used by independent film-makers or by publishers — it’s an absurd word that implies theatre producers only care about money.
In fact, producers care about their shows as much as any "not-for-profit". And theatre producing is an R&D activity, so most "commercial" producers are, in reality, "not-for-profit". Or, at least,"not-profit".
Chris Jones, in today’s Chicago Tribune, points to the underlying trend, talking about Broadway’s current crop of serious drama:
"In theatrical lore, the commercial producer and the non-profit theater company are worlds apart. The former is synonymous with mercurial, cigar-chewing entrepreneurship; the latter is fulfilling a sacred social mission to serve and protect the arts.
But recent events suggest that, at least where plays rather than musicals are concerned, the line between these two halves of the American theater business have collapsed to the point where the distinction is no longer as meaningful. Prodded by fiscal necessity, non-profit theaters have become ever more entrepreneurial and star-conscious; producers are taking more risks to support serious, weighty and frequently new drama." FULL STORY HERE