In my last words in connection with @laraspencer and @GMA, in case people find me here for the first time: I believe in the power, value, and joy of the arts. They teach discipline, empathy, teamwork — and can be fun for those creating work and those consuming work. (1/4)
I have and always will speak on behalf of the arts whenever there’s an opportunity, whether on social media in response to negative views or in person by invitation. We all have multiple and varied interests. I won’t insult yours and hope you’ll respect mine. (2/4)
I feel especially deeply about performing arts because it puts us, the audience, in the room as people create art and tell stories right to us. We exist together in the same space, we breathe together. The arts have the power to unite us in shared experience. (3/4)
So let’s not be vicious in our response to what took place on @GMA. Let’s ask, let’s persuade, let’s lobby for them to do better. But by all means let’s raise our voices for the arts, as creatively as we can. The end. (4/4)
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Today marks the centenary of the birth of Charles M. Schulz, the most influential comic strip artist of the second half of the 20th century. Some 100 cartoonists pay tribute today in their strips. Here's Garry Trudeau in “Doonesbury.”
I have felt a profound connection to “Peanuts” since I was very small, when I began obsessively cutting the strip out of the newspaper every day and pasting them, chronologically, into notebooks. Here’s “The Wizard of Id.”
I played Charlie Brown in an exceptionally abridged version of the musical in day camp and later played Snoopy in the full “You're a Good Man, Charlie Brown” in junior high, the first show I was ever in. Here's “Non Sequitur.”
Last night, The Door McAllen Church in McAllen TX committed a blatant copyright violation by performing and live-streaming their own production of @HamiltonMusical, which is not licensed for any productions. They changed text and tacked on a sermon including anti-LGBTQ message.
“Jesus gives me the strength to pull through when I needed him most he was right on time” is not part of @HamiltonMusical but The Door McAllen put those words in Eliza's mouth last night and they plan to do it again tonight. Tacked on sermon talks about sin. This is illegal.
The religious leader's post-show sermon includes, “Maybe you struggle with alcohol, with drugs, with homosexuality, maybe you struggle with other things in life, your finances, whatever, God can help you tonight. He wants to forgive you for your sins.” LGBTQ lives are NOT sinful.
I had a profoundly emotional response to #InTheHeights last night – in tears of grief while simultaneously experiencing great joy, coming out happy and emotionally spent. I keep thinking about why.
The first was simply the act of being out and in audience. While not the first time, and not at a live performance, the movie approximated what I experience at the best of theatre. It was a release that has been pent up for 16 months.
No doubt part of this was seeing people I know and care about on screen: @Lin_Manuel who I met during the first success of #InTheHeights in NYC, @daphnerubinvega who I met when I ran @ONeill_Center and came to know more as I grew close to Jonathan Larson's family and friends.
The essential @AapacNyc report on who appears and whose stories are being told on NYC stages has been released. A must read for the theatre community. aapacnyc.org
From @AapacNyc, who is telling the stories on NYC stages?
From @AapacNyc, who is designing the work on NYC stages?
I'm pissed off this morning and I'll tell you why. It's because of headlines in the entertainment press saying that the opening weekend of IN THE HEIGHTS had disappointing sales of $11.4 million. The problem is that the metrics in use are no longer valid.
Yes, articles note that the $11.4 million is box office sales, and that the film's availability on HBO Max can't be measured. But there's no question that subscribers to the service, with the option of watching for no additional cost at home stayed home.
Then comparisons are made to other post-COVID films like A QUIET PLACE 2, GODZILLA VS. KONG, and THE CONJURING 47. But isn't it interesting to note that those films are, to varying degrees, scary movies? They wouldn't have the same audience as the family-friendly HEIGHTS.
I WON'T SHOUT AGAAIN, but consider everything that follows to be in an emphatic tone bordering on anger: Do you know how much the UK government provided in arts and culture grants today? £257 million. That's $331 million here.
How much special funding for the live performing arts has the U.S. government provided in this time of crisis, considering that the population of the US is five times that of the UK? $75 million, less than 25% of UK support.
40% of the US funds went to state arts councils. The other funds yielded 846 grants of $50K each to arts organizations. Since those grants? Zero. Zed. Nil. Nada. Nothing. Yet the challenges are the same between US and UK, and pandemic wears on. Angry yet?