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.
And there was @ChrisisSingin in the Mister Softee truck, competing on screen with his offscreen friend @Lin_Manuel. I have many friends and acquaintances who work on film, TV and stage, but this was all a particularly wonderful confluence.
From the moment the movie began, while it clearly diverged from the stage version, I was aware of an impending loss and I felt it every time the character appeared on screen. I lost people over the past year; perhaps I projected those losses all on this character.
The joy? At seeing the movie musical returned most fully to the form that reached its pinnacle with the Freed Unit in the 50s. @jonmchu is obviously a passionate student of musicals and I saw his influences even as he applied the form to a new, modern story.
As for the screenplay by @quiarahudes, who I have met only briefly but admire greatly? I think she improved upon her and Lin's original story, raising the stakes while raising essential issues that were in stark relief in the Trump era, when the film was made.
I have not been cut off from my feelings for 16 months, I have not been numb, but #InTheHeights brought things out of me in public, albeit in the dark, albeit among strangers, that I have not been able to feel outside my apartment for too long.
This was a cathartic experience akin to my tears upon seeing "Our Town" and "The Trip to Bountiful." It touched me in ways I can talk about, but never fully know, let alone explain.
I expressed support for "In The Heights" last week because this is the kind of movie I want to see and experience in theatres, and I knew that intellectually. But my god I did not understand how much it would do for me emotionally.
I probably will never experience this movie in quite the same way again, but if I was supportive of it last week, I feel the need to proselytize for it vigorously now. Our return to live theatre will take a couple more months at least, so this is where we can go now.
I am far from unaware of the criticism that has been leveled at aspects of the film. As an older middle aged white man I can only try to appreciate what those who take issue with the film feel about it. I respect their opinion. I will always support diverse representation.
But #InTheHeights was for me an emotional experience and what I felt was real and deep. I hope to experience it again, not just on watching this movie other times, but at any and all works of creative art, performing art. That is where I find meaning and where I find joy.
See #InTheHeights in a theatre, even if you've seen it on HBO Max. That way, we'll be sure of getting more that aspire to the same achievement. The powers that be in Hollywood need to hear our desire and know we'll come out in numbers they cannot ignore.
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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?
I had planned to follow yesterday's tweetstorm by exploring other aspects of the pandemic's effect on the arts. But first I should speak to some of the responses I've received. No shouting today. First, my heart goes out to everyone affected.
I heard both from people who have lost jobs and those training to enter the field. My message also embraces those who teach and those whose livelihoods are contingent upon the arts functioning, even if they don't work in the arts themselves.
Despite my effort to keep my tweets from being political, I certainly heard from those who view the arts as a frivolous, liberal activity that isn't worth savings, and indeed from those who think arts works are having a lark on a daily basis. Maybe we can't reach them. Yet.
I think I need to put this as plainly as I can, and I apologize for shouting: PEOPLE WHO WORK IN THE LIVE PERFORMING ARTS AREN'T JUST 'NOT WORKING' – THEY ARE *PREVENTED* FROM ENGAGING IN THE WORK AND CAREERS FOR WHICH THEY WERE TRAINED.
YES, THERE IS ONLINE CREATIVITY, BUT MUCH OF THAT IS VOLUNTEER, CREATIVE ARTISTS LITERALLY BURSTING TO SHARE THEIR WORK WITH YOU AS BEST THEY CAN, MOSTLY FOR FREE. UNTIL SUMMER 2021, THEY HAVE TO TRY TO GET WORK IN OTHER FIELDS TO PAY BILLS AND FEED THEIR FAMILIES.
THE ARTS ARE NOT EXPENDABLE, NOR ARE THE TENS OF THOUSANDS WHO WORK IN THE LIVE PERFORMING ARTS AROUND THE COUNTRY. MAKE NO MISTAKE, THIS IS AN IMPORTANT INDUSTRY, LIKE AIRLINES, LIKE LIKE PRO SPORTS. OTHER INDUSTRIES RELY ON THE ARTS TO DRIVE THEIR BUSINESSES.
The rumors of last night were absolutely accurate. Broadway is now matching what so many regional theatres decided a while ago. There will be little to no 2020-2021 theatre season. nytimes.com/2020/10/09/the…
But let's remember: what's happening to live performance isn't just about Broadway and the Met Opera. The extended Broadway closure is representative of what is happening to live performance everywhere in the country. It grabs the attention, but doesn't show the national scope.
As journalists, outlets and news services rush to blare headline about "The Broadway Shutdown," I hope they'll remember the breadth of the theatre industry and its people. This is not just a New York problem. A lot of people will need a lot of help.