Cara Joy David

Reports from both New Zealand and the United States show that not only is participation in the arts not waning, there is a large population that holds an interest in engaging with the arts. The question emerges of how best to reach these audiences with the right information and prices that can turn them from being curious to regular attendees.

Charleston Stage has a new Managing Director, and Dallas Theater Center has a new interim Artistic Director. Along with these movements of the regional leadership carousel, Seattle Opera has introduced a new Artistic Ambassador, a role designed to help bridge the gap between the stage and the community, and foster new audiences.

This week for the award show series, I look at two award shows that do not consider Broadway: the Lucille Lortel Awards and the Obie Awards. 

As news of additional cuts comes from more councils in the UK, in the US, a new piece of legislation looks to support the still struggling live entertainment industry as it emerges into the new normal. As evidence of the need for such action, we’ve got stories about layoffs at a New Jersey NPR station, as well as another urgent fundraising plea.

In this column, I write about the development of one of this spring’s jukebox musicals, The Heart of Rock and Roll. My old friend, Gordon Greenberg (represented off-Broadway earlier this season with Dracula: A Comedy of Terrors), is directing it, and I recently chatted with him about his decade-long involvement with the show.

In a sign of an industry on the rebound, Center Theatre Group in Los Angeles is getting ready to announce a return of programming at the Mark Taper Forum, where production was paused last year while the organization went through a budget crunch. Additionally, following the casting of a Black actress in the role of Juliet, an upcoming West End production of Romeo and Juliet from the Jamie Lloyd Company started dealing with racist backlash online - we’ll show you how the company responded.

Two groups of critics (or, more precisely, one group of critics and one group of mostly critics) give theater awards each season. In this continuing series on theater’s awards, I look at the New York Drama Critics’ Circle Awards and Outer Critics Circle Awards. 

Rise and shine, BroadwayWorld! It is April 2, 2024 and it's time to catch up on all of the theatrical happenings you may have missed in the last 24 hours.

This week, stories abound about the impact funding can have on the arts - from the UK, an editorial about how the collapse of funding for the creative industry was predictable. In the US, we have stories of large gifts making a huge impact - no-cost rentals at 59E59 - as well as changes to the way Florida is apportioning their arts budget.

It is award season. And every year newcomers to the industry ask what most of the awards are. In this series, I’ll hopefully explain that. I'll be looking at many of the major awards other than the Tony Awards. First up today: the Drama Desk Awards and the Drama League Awards.

Rise and shine, BroadwayWorld! It is March 26, 2024 and it's time to catch up on all of the theatrical happenings you may have missed in the last 24 hours.

The storm of openings has begun on Broadway, as we prepare for what will be an even busier April leading into the conclusion of the 2023-2024 Broadway season. Amidst that storm, great work continues off-Broadway, as Cara Joy David reminds us when she pays a visit to Dead Outlaw.

Every once and a while I see a performance and wonder if there is some stage magic involved. That is how I felt while watching Dead Outlaw. Andrew Durand—giving what The New York Times referred to as a “wow of a performance” —stays so still for such a large portion of the musical that I wondered if a beta blocker was utilized.

Rise and shine, BroadwayWorld! It is March 19, 2024 and it's time to catch up on all of the theatrical happenings you may have missed in the last 24 hours.

As the unionization wave continues to move through theatrical workers across the country, two developments last week highlighted the movement: the Public Theatre declined to voluntarily recognize the unionization effort of their workers, and workers at the Goodman Theatre sought their own union affiliation.

Throughout my career, I’ve tried to stay attuned to the ticket-buying experience. I walk through the process online at the major retailers. I’ll stop by rush lines or in-person lotteries to talk to folks. And, last week, I woke up early a few days to talk to people on/participate in the standing-room-only line for Hadestown.

Rise and shine, BroadwayWorld! It is March 12, 2024 and it's time to catch up on all of the theatrical happenings you may have missed in the last 24 hours.

In the summer of 2022, Canadian-based producers David Galpern and Charles Roy launched ArtsDistrict Brooklyn in Greenpoint, Brooklyn. But I’ve spoken to over a dozen people—some only on background because of potential legal implications—who allege they are owed money related to work they performed for the venue.

The SDNY dismissed Kim Moore’s racial discrimination claims against Hadestown’s producer not because Moore did not allege a plausible claim for discrimination, but because the actions of the Hadestown team were protected by the First Amendment. The Court did not dismiss Moore’s claims of retaliation, so the case will continue.

After what has felt like weeks of covering cuts in funding to UK Arts budgets, some great news on two fronts from across the pond - a recent study of 2023 ticket buyers in the UK found that more than half of them were first time theatregoers.