Profile for javero

Many thoughts for both families.  I'll hit up the gofundme account in a bit.

But if only 12% of...

Thanks for the clarification!!!

Some years ago I collaborated with a musician who bailed at the last minute because he didn't want his music tied to a turkey of a libretto which was my contribution.

I'm still on the fence about checking it out later this week.  The one deterrent follows.

Performance Timing: Act One - 65 min.; Intermission - 15 min.; Act Two - 55 min.

"Can you imagine if they had gotten her as Glinda for the live telecast!?"

Yes, we can.  And that's why we're relieved she didn't curse the latest iteration of the THE WIZ.  

How about Christmas with Bella, Edward, and Jacob?

"(Unless I am totally misunderstanding your question)"

On the contrary, you totally get it and thanks for responding, dramamama611!!!

I have a question for the group that relates to "grand rights" for dramatic works in the US.  It's always been my understanding that the traditional performing rights organization have zero involvement in negotiations between the author(s) of a play (or musical) and a theatre company interested in mounting the work.  Royalty rates are set between those two parties or their agents on a case-by-case basis.  The gray area to me as a non-attorney is any change to the dramatic work.  

@firebolts, my big takeaway from the article was the following excerpt from one of the comments,

"Until recently if you were an Asian CEO of a startup about to go public, the investors often insisted that a white CEO be brought in to make the company more attractive to Wall Street. This is now decreasing."

"If shows such as Hamilton, In the Heights, andAllegiance continue to written and produced, I can almost guarantee that the number of white audience members will decrease and the audience will diversify, and that is such a great thing."

I agree and suggest that it's not a zero sum game.  It's a win-win for theatre in general.  I'm heartened by the success stories of some community theater groups to attract a diverse roster of writers,directors, and actors, which FindingNamo alluded to.   Apart from a few warts, I find Broadway to be a helluva lot more inclusive within than other sectors of society without.  And yes, I'm looking at you Silicon Valley.  Context is everything so please read on at the link below whenever you can spare the time.  

http://www.motherjones.com/kevin-drum/2015/05/asians-tech-glass-ceiling-hidden-plain-sight-ascend-study

Finally, as a simple thought exercise, I implore each of you to replace the word racism with "hegemony" as you devise ways to move theatre forward in the US.  The aim here is not to re-write history but to move past the loaded word racism.  We are often not aware of the origins or nature of our biases or hangups.  Consequently, we become either defensive at the mere suggestion that our successes are due in any measure to birth-right or discouraged by the burden of always having to receive the nod of approval of the dominant group. 

"I agree that the character make-up and costumes look a little frightening whether intentionally or unintentionally. The poster would look better if they weren't all screaming."

They are REJOICING.