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Top 4 theater News Today

#1
Interview: Bad Habits
#1 out of 4

Interview: Bad Habits

  • A loading problem blocks parts of Festmag's interview content for some users.
  • Users are urged to check connection, disable ad blockers, or switch browsers to access the content.
  • The issue may stem from client-side loading or extension interference affecting the interview page.
  • Festmag signals that a resolution is needed to restore full access to the interview content.
  • Developers are expected to investigate compatibility with extensions and network configurations.
  • The report highlights troubleshooting steps while awaiting a fix from the site team.
  • No definitive cause is confirmed; multiple factors are under consideration.
  • Users are encouraged to retry access later if the problem persists.
  • The reference indicates ongoing efforts to improve reliability of content delivery.
  • The situation underscores the need for robust cross-browser compatibility testing.
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#2
Saint Joan review – urgency and drive in Stewart Laing’s modernist adaptation of George Bernard Shaw
#2 out of 4

Saint Joan review – urgency and drive in Stewart Laing’s modernist adaptation of George Bernard Shaw

  • Laing’s modernist Saint Joan is shorter than the original yet maintains Shaw’s earnest themes of faith and rebellion.
  • Mandipa Kabanda leads with rapid, urgent dialogue as the Maid of Orleans, matching pace with the rest of the cast.
  • Ear pieces on male actors suggest Joan’s voices are heard alongside those of her peers.
  • The ending juxtaposes modern protesters with Kabanda’s call for action, echoing contemporary urgency.
  • The Times critic’s concern about modern commentary mirrors the production’s reflective stance, not its irony.
  • Kabanda’s performance is described as tearing through dialogue with rare pace and urgency.
  • Laing uses film sequences and camera angles to integrate Shaw’s unproduced film vision into the stage.
  • The production is a Raw Material co-production, signaling a collaborative, contemporary approach.
  • Shaw’s themes of religious conviction and ecclesiastical power remain central to the reinterpretation.
  • The Guardian frames the piece as a timely, energetic exploration of Shaw’s drama.
  • The stage production explicitly connects Joan’s revolt to contemporary activism.
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#3
Daniel Radcliffe Loves Audience Participation
#3 out of 47.3K est. views

Daniel Radcliffe Loves Audience Participation

  • Radcliffe brings Every Brilliant Thing to Broadway with audience participation at the center of the performance.
  • The show uses an opt-in system to select volunteers for onstage moments.
  • Every Brilliant Thing blends humor with heavy themes about depression and suicide.
  • Radcliffe has balanced theater work with personal life, including winning a Tony for Merrily We Roll Along.
  • Previews for Every Brilliant Thing start February 21 at the Hudson Theatre.
  • Radcliffe aims to keep interactions with the audience authentic, not as a celebrity.
  • The play centers on a man compiling a list of 'brilliant' things that make life worth living.
  • The piece notes Radcliffe’s rising Broadway credentials and prior stage successes.
  • Hudson Theatre previews mark the show's Broadway return after earlier runs.
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#4
My Lunch With Wallace Shawn and André Gregory
#4 out of 4

My Lunch With Wallace Shawn and André Gregory

  • Wallace Shawn and André Gregory discuss their 50+ year partnership and ongoing collaboration on new theater.
  • The new play What We Did Before Our Moth Days opens in previews at the Greenwich House Theater in March.
  • Gregory describes his directing style as patient, emphasizing long rehearsal periods to surface truth.
  • Shawn reflects on his long career and his evolving relationship with audience expectations in New York theater.
  • The piece notes the economic and cultural shift making New York theater fainter for artists today.
  • Shawn recalls their shared history with Malle’s film and their theatre roots.
  • The interview situates Vanya on 42nd Street and Uncle Vanya as landmark projects in their careers.
  • Gregory reflects on the challenges of presenting new work in today’s economy.
  • The article highlights how the pair’s work intersects with production by Scott Rudin and Barry Diller.
  • The profile emphasizes the enduring relevance of their collaborative approach to theater.
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