Debra Cash
We’re not saying get rid of “Madama Butterfly” We’re saying do a better Butterfly.
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Here’s this week’s poem, Debra Cash’s “The Boat: April 19, 2013.”
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Because Mindy Aloff is so deeply personal and idiosyncratic — and so dependent on what was programmed by certain theaters, in certain years — her book distorts the very topic it is intended to illuminate.
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The struggle is to define what the problem is – and to allow the questions to have big, destabilizing, and more honest answers.
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For the foreseeable, capitalist American future, full and equitable access to live, professional performing arts will depend on subsidy.
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“I believe artists create a safe space for unsafe ideas in our world.”
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Energizing, joyful, expert, close to sure-fire, Chasing Magic was a great choice to reopen A.R.T. after the long pandemic shutdown.
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With great sightlines from every one of its 216 seats, the Doris Duke Theatre space made for intimate, often enthralling encounters with movement.
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The shared baseline of these conversations is that there are no good old days to go back to. If the cultural sector in the United States returns to the ways things were organized in February, 2020, with all the inequity and unsustainability that implies, we will have failed.
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Dance Commentary: Contract Dispute Between Union Artists and Alvin Ailey American Dance Theater — ‘Buked and Scorned?
The Ailey dancers’ demands around salaries and the length of their contracts reflect the resurgent strength of organized labor in the cultural sector.
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