Harris Theater for Music and Dance’s Post

What does it take for Black audiences to feel at home in the theatre? This question looms over producers at predominantly white institutions as they hope to encourage people to return to the theatre following Covid-19’s shuttering impact. Playwrights Dominique Morisseau and Jeremy O. Harris have been at the helm of a grassroots movement with a promising answer: Black Out nights. Now Black Out performances are filling houses across the country. https://lnkd.in/dubqe_s3 Award-winning playwright Branden Jacobs-Jenkins talked recently about ‘Black Out nights’. In the UK it was drawn into the culture wars (though interestingly it hasn’t been in the US) with even Prime Minister Rishi Sunak criticizing the practice for being exclusionary (it’s not). “It’s just a misreading of what those nights are. In America we have a strong black audience that buses in to see 'The Color Purple' or whatever… it’s an audience that’s a privilege to have so a black out night is not that uncommon of an idea.” Would he consider such nights at his shows? “I’m not averse to it… my plays tend to draw diverse audiences and I like to feel people be in the space together and listen to them laugh or not. But if people thought it was helpful then sure. It’s all a marketing scheme. It’s all about selling tickets, so sure.” https://lnkd.in/dfD-Mfxm Read more about Black Out here: https://blackoutnite.com/ #SweibelArts #BlackOutNights #AudienceDevelopment

Nine successful years and first results in the fight against toxic theater structures in the German-speaking theater system It was only 9 yrs ago that we all began to fight for a better theater system and for better working conditions. Discussions about abuse of power, overstepping of boundaries and management mistakes only began in 2015 with the theater directors K Sibelius at the Theater Trier and M Hartmann at the Burgtheater in Vienna. Since then, the ensemble-network and many other action groups have been formed, articles have been written, the book "Theater, Krise und Reform" was published in 2016, and a discourse space has developed that advocates changes in organizational structures, the fight against abuse of power and the development of new management models. In the process, many board members who had abused their positions of power for their own benefit and who had not used their power carefully enough fell victim. 9 years - a very short time, but one that has already brought initial success. But it is not enough, because there are still toxic directors in power, there are still special regulations and production conditions for theater directors, organizational structures need to be transformed, salaries are still too low and working hours are still abysmally bad. So there is still much to be done. But as the success so far shows, it can be done. The example of the first two directors held accountable shows that the public is interested in these cases. What is striking, however, is that the charges are dropped - in exchange for a payment of only 10,000 euros. Those who have earned a lot can afford expensive lawyers... Nachtkritik writes: "Karl Sibelius, general director of the Trier Theatre from 8/2015 to 11/2016 with overall responsibility, has to answer for breach of trust before the Trier Regional Court as of today. Various media, including SWR, are reporting this in unison. Sibelius (...) is accused of exceeding the theater's budget by 1.3 million euros in 2015 and 1.7 million euros in 2016. The city reportedly had to take out a loan of one million euros to cover the deficit. Sibelius' lawyer, Andreas Ammer, reportedly said that the allegations in the 53-page indictment were essentially correct. However, the wrong conclusions were drawn from them. (...) It was not until May 2016 that it became clear that the budget had been exceeded. Sibelius, whose contract was to run until 2020, was let go early. The city had to pay 300,000 euros in compensation. (...) The case was dropped on the first day of the hearing "in exchange for a payment of 10,000 euros," according to SWR. The chamber wanted to "keep things in perspective" and suggested dropping the case due to "lesser guilt". (9/2/24) https://lnkd.in/e7ctzdZ4

2024 brings us "Stage Kiss" in February, "White Rabbit, Red Rabbit" in March, and "One Flew Over the Cuckoo's Nest" in May. After that? That's up to you! Confetti Stage, as a community theater, is always interested in which shows our community would like to see us produce. To that end, we are now accepting show and director submissions for the 2024/2025 season. For those who wish to increase their chances of acceptance, the following best describes what we are looking for in a full season: A Christmas Show – Performances in December. 2 regular, main stage productions, performed in the Albany Masonic Temple, typically in February and April/May. 1 Outdoor Summer show that is to be either Shakespeare or a “classic.” “Classic” in this case means a non-musical production that is either an important part of theater history or based on a classic work of literature. We try to keep this production geared towards families to enhance the fun, sunny atmosphere of summer theater. Not children, but families. Being within the public domain is a huge benefit for any suggestions, but not a necessity. Performance in August. This guideline is, of course, subject to change based on our needs and resources. Our Mission Statement (in case you need some inspiration): “Confetti Stage was founded to explore the human experience, while illuminating the myriad diversities which define us as groups and individuals. Confetti Stage promotes diversity and understanding through the creation of dynamic and inspirational productions and educational opportunities. We strive to maintain the highest possible level of artistic standards while fostering collaboration and mutual respect.” Below is the submission page. Please fill it out the form in its entirety. If you are also interested in directing the show with us, please submit a production concept. Be advised that any director candidate must also pitch their concept for the show before the board before they are approved to direct any show that is chosen. https://lnkd.in/e_-sDFW5 Please send all submissions to Confetti Stage at [email protected] by February 14, 2024. Thank you for your interest in our work, and we appreciate your feedback!

BIPOC THEATER NEWS: "...[the Broadway industry] has been slow to recover from Covid-19: Admissions totaling 12.3 million for the 2022-23 were nearly 17% lower than the record-breaking pre-pandemic levels of the 2018-19 season. The good news: Broadway audiences were more diverse than ever last season, with 29% of attendees identifying themselves as Black, Indigenous or People of Color. The figure compares with 26% in the 2018-19 season." https://lnkd.in/eF_j-bz4 + 3 feature stories in the Fall 2023 issue of 'American Theatre' magazine: "Changes Come Fast, Change Comes Slow": How a cohort of artistic directors of color, recently hired at major U.S. theatres, have confronted unforeseen upheavals. https://lnkd.in/dk53_vrd "Theatres No Longer Bound to the Stage": How 6 BIPOC theatres have embraced new mediums and built new audiences. https://lnkd.in/ezU4Vy5C "A Harlem Renaissance": How theatres in the historic NYC neighborhood are stepping up their game with artists and audiences. https://lnkd.in/eDhbgJJh

Sometimes I very much miss my former theater life. Until I remember the devastation the pandemic wrought on performers, producing entities, and the possibility for a living wage in theater. The pandemic highlighted the house of cards many players in the theater industry were working on, and how precarious they were becoming. Many of these entities have not been able to survive. When I talk about the theater industry, I know some organizations are thriving and healthy - but many are not. And the divide between heavyweights and lightweights continues to grow, which means we aren't continuously developing or supporting our next gen artists. We are rewarding our most successful artists without enabling others to fail so that they, too, can also grow to be successful. What defines a culture? Technology, wealth, information, but... culture is one of the most defining and all-encompassing components of a society. And just like you can't expect an open bank account with no money in it to suddenly appreciate into millions of dollars, you can't expect to grow a culture if your society doesn't invest in it, on personal, organizational, and state and federal levels. #theater #supporttheater #definingmoments

My essay for HowlRound Theatre Commons, "We Can't Build an Equitable Theatre While Ignoring Covid," is now published. If we want to build an accessible, anti-racist, equitable theatre field, we MUST enact COVID precautions. It is my hope that my fellow theatremakers (and arts workers of all kinds) will read this essay and it can serve as a loving call-in and an offering for us all to re-commit to our values. Please let me know your thoughts! https://lnkd.in/es9Htf8y

September 24: Status Report on the German-speaking Theater: The End of the Patriarchs, Really? Of the Presence and Absence of Theater Directors of the Old School The 2024 festival season is over and the German-language theatres in Austria, Germany and Switzerland have already started to play again. But as always, cultural policy and management aspects play at least as big a role as the artistic highlights. On the one hand, there are more and more good news: teams are being formed to run theatres together, or teams are being suggested in tenders for their management, for example in Cottbus, Erfurt and Heidelberg. The advantage is obvious: the responsibility is spread on many shoulders, and the old hubris of male directors is sacrificed for a new work ethic in which one person can no longer decide and direct everything, but a group of people determines the artistic and managerial strategy of the theater. This is a "sacrifice of old norms" that is particularly rewarding for the employees. Because now the leaders are more accessible and spend more time in the the theater. I myself remember artistic directors that were barely in the theater for 40% of the annual season because they were tending to their personal affairs and spending a lot of time in absence, which supposedly "served the theater", as I was informed by them many times. "Don't you know, Thomas," I was told, "that a theater director has to be absent a lot to show how important he is." "The more present I am, the more I show that there are problems to be solved," was another word spread by theater directors who liked to spend more time in Berlin, Munich or Vienna than, for example, "in the small town of X, in a theater full of work and problems". However, politics never exercised control, and the de-registration in the Ministry of Culture after 3 days of absence of the management was a joke, because it was never requested or checked by the responsible. Coming back to the new trend of team directorships, one hears of theaters where men still rule alone, and these are usually characterized by discrimination and abuse: Erfurt and Vienna were recently in the headlines, and in Kassel a real leadership chaos is breaking out. All this is being closely followed by the press. The old gentlemen's agreement between the press and the artistic directors not to tread on each other's toes has finally been successfully exchanged for a new transparency. ** The younger generation in particular is learning how to run a theater properly - and the first are preparing to take responsibility for these positions. Many of them are preparing very intensively for their interviews with the selection committees. Fingers crossed! The appointment of new artistic directors and managers for the theaters is a positive sign for the whole theater landscape. Why one of them was recalled so quickly in Kassel is difficult to understand. But the media will surely shed light on it soon - and I will follow the trail.

Break a Leg!: A Treasury of Theatre Traditions and Superstitions is a captivating book that delves into the fascinating world of theater customs and beliefs. Whether you're a seasoned theater professional or simply someone with a love for the arts, this treasury is a must-have addition to your collection. One of the standout features of Break a Leg!: A Treasury is its comprehensive coverage of a wide array of theater traditions and superstitions from around the world. From Shakespearean rituals to modern-day practices, the book offers a detailed exploration of the customs that have shaped the theatrical landscape throughout history. What sets Break a Leg!: A Treasury apart is its ability to not only entertain but also educate. Each page is filled with anecdotes, explanations, and insights that provide a deeper understanding of the significance behind these traditions. Whether you're curious about the origins of the "Break a leg" idiom or the reasons behind avoiding the use of the word "Macbeth" in a theater, this book has you covered. Furthermore, Break a Leg!: A Treasury serves as a valuable resource for anyone involved in theater production. By understanding and respecting these traditions, practitioners can create a more cohesive and respectful working environment. Whether you're an actor, director, stage manager, or even an audience member, incorporating these customs into your theater experience can enhance the overall atmosphere and energy of the performance. In addition to its informative content, Break a Leg!: A Treasury is beautifully presented with stunning illustrations and engaging storytelling. The layout is easy to navigate, making it a pleasure to flip through the pages and discover new tidbits of theater lore. Overall, Break a Leg!: A Treasury of Theatre Traditions and Superstitions is a delightful and educational read for anyone with an interest in theater. By exploring the rich tapestry of customs and superstitions that have been passed down through generations, readers can gain a deeper appreciation for the magic of the stage. Add this gem to your bookshelf and prepare to be transported into the enchanting world of theater like never before. And that wraps up our review! Don't forget to hit that like and subscribe button for more awesome content. Your support means the world to us. For more information, check the link in the description. Check out the product here: https://lnkd.in/dpCXnZhN

What Hans Weichhart, AEA, AGVA said: To me, theatre isn't just a building. Theatre isn't just a play or a musical. Theatre is storytelling and whether you tell that story through words, dance, music, or art, it doesn't matter. The impact that theatre has to provoke thought, invoke emotions, and inspire change is what makes me so proud to celebrate #TIOS and to thank all of the dedicated #theatreeducators out there! Storytelling--also essential in writing for grants, annual reports, promotional information, etc. etc. etc. Wonder just how many people in grants, marketing, PR, etc. also have #theatreeducators to thank? Now's the time!

It's really happening! The major German theater & stage Unions GDBA and BFFS decided to terminate the controversial collective agreement NV Bühne (= Normalvertrag Bühne). The NV Bühne was debated since 2016 within the several streams of the critical theater discourse and in different programmatic and scientific publications. The hotly debated NV Bühne not only puts stage artists at a significant disadvantage compared to colleagues in administration and technical departments in the theaters, it does not allow artists to develop significantly out of precarious living and working situations. It is one of the most insecure chain contract models, which gives artists and their families security at their place of work for one year only before the next prolongation happens - or not. Everything else is decided solely by the theater director = CEO, known as the INTENDANT, a position of supremacy that is clearly archaic for the 21st century and one that should be viewed critically due to its power. A GDBA message to members states: "We want to reform the NV Bühne, because it contains some regulations that have existed since 1924, i.e. are 100 years old - that's enough!". Nachtkritik.de writes: "The main board of the GDBA (stage union) and the board of the BFFS (Federal Association of Actors) have decided to terminate the collective agreement Normalvertrag NV Bühne on December 31. Both unions announced this. The aim is to achieve an improved collective agreement. The termination must be made to the German Stage Association by June 30. The artists' unions GDBA, BFFS and VdO already negotiated intensively with the Stage Association last year about the collective working time regulations. The failure was announced a year ago. The termination of the NV Bühne, which applies to artistic employees and also predominantly artistically active stage technicians, is only possible once a year until the end of June. However, the VdO (Association of German Opera and Dance Ensembles) is not participating in the termination. "This does not weaken our strategic partnership and opens up different options for further negotiations," the statement says. On July 3, a member meeting will be held to inform about the next steps. Until a new collective agreement is reached, the so-called "after-effect" will apply from the new year. This means that the regulations of the NV Bühne will continue to apply to members for the time being. For non-members and VdO union members, there are other options for action from the theater side. (source: Nachtkritik.de, GDBA.de) picture: Schauspielhaus Hamburg 2022, Richard the Kid & Richard the King.