Between the Twitter discussion surrounding the Globe’s Shakespeare and Censorship event (which I fully recognize could not have captured the nuance of the speakers’ actual talks) and a conversation that came up during a plenary on teaching Shakespeare at this year’s BritGrad conference, I’ve been grappling with the question of what we’re talking about when we’re arguing for or against “censoring” Shakespeare (and that’s not even getting into the obviously biased moral weight of the use of that word). I’d like to try to define my take on this debate with a series of questions, because I think so many things are getting lumped under one umbrella, it’s almost impossible to actually discuss the problem.

After spending 22 years in a cast of a Broadway show, one deserves a curtain call worthy of that achievement. It could be a standing ovation during the final bow. Or a backstage celebration. Or parting gifts from the cast, creative and producers. 

But instead of being recognized for a rare achievement in New York theatre, Jeff Loeffelholz ended his own life with a mixture of painkillers and alcohol. 

What led Jeff to this point is going to be the subject of investigations by multiple organizations and their results could lead to a complete reshaping of working conditions in professional theatre.

While Jeff's alleged treatment behind-the-scenes at Chicago is horrific, for many other performers, it's all too familiar. 

on July 5th. You can click here to read it. 

All caught up? Good. Hopefully, as you were reading it, a couple of questions began to form. But one that should definitely be raised is, "Was this article necessary at all?"

I understand Reidel's methodology here. It's not every day one gets permission to publish extremely-candid quotes from one high-profile star bashing another. So clearly, from Reidel and the Post's point of view, there is a story to tell and clicks to get. 

But from my point of view, the whole article feels like a well-orchestrated hit on a show's leading lady by portraying her as either a selfish diva or a fragile performer, incapable of meeting the demands of a lead role on Broadway. Even if either were true, the fact that this has gone public is wrong and is certainly a violation of the unwritten rules of being in a Broadway cast: You don't air your dirty laundry in public, especially not to the press, especially not to Michael Riedel.  

#TenthPlanet

Normally, if someone were to use this hashtag, one might think that it’s some sort of Doctor Who reference. (At least, that’s what I noticed later on, after I started using it, myself.) This year, however, this hashtag has taken on a whole new meaning, in reference to the 10th anniversary season of the Planet Connections Theatre Festivity, New York’s premiere socially conscious and eco-friendly theatre festival, founded a decade ago by arts professional Glory Kadigan, and led this year by Producing Artistic Director Shaun Peknic, who is at the helm of one of the most passionate and enthusiastic festival staff teams you’ll find in New York, which his overseeing dozens of bold new shows from various genres.

I love playwriting, and the creative rush I get from writing so many plays – and often, seeing them produced – is practically what I live for. I’m also a theatre critic, and thus have the chance to see a diverse range of shows and offer my analysis and opinions of them. Depending on which person you talk to, if they’re familiar with my writing, they might know that I’m a playwright and a critic, but they may know me better for being one over another. There also may be some who know me only as a playwright, but have never read any of my reviews; or perhaps they’ve seen my past reviews of shows, but are totally unfamiliar with my work as a playwright.

Why do people go to the theater? It’s a question to ponder on and there really is no single answer to it in my mind. I think there is something special about going to a theater and seeing a show versus going to see a movie. There is something about having that action right in front of you. After all, there is nothing like live theatre. I imagine it’s probably an escape for some people other than it being a pleasure. I know it is an escape for me and it brings me so much joy, excitement, and contentedness that I’ve kind of become addicted. Not only is it my passion, but it is a huge part of my life. Without it, I would feel as if I lost my imagination.

News broke yesterday that the long-rumored Cats movie is officially on for production. It was announced that the Tom Hooper(Les Misérables) film is slated to start filming in November. No casting has been announced yet. Wayne McGregor(Woman in White) will serve as choreographer. 

The historic and prolific St. Louis Municipal Opera Theatre (commonly known as The Muny), is marking a rare feat for regional theatres, its 100th season. It's a milestone that should rightfully be celebrated in not only the St. Louis theatrical community but here in New York City as well, as many a performer has graced that stage at one time or another. 

However, their season is off to a bumpy start, according to some who have seen how they've decided to stage various numbers in their production of Jerome Robbins' Broadway. The show, which serves as a tribute anthology to shows that Robbins worked on, features fully produced recreations of his choreography. That means these numbers are done in the context of the shows their from and with full costuming. And that is where the problem lies. 

What will be today’s Musical Theatre legacy?  What work will be left behind for the next generation to look back on with admiration, commenting on how ahead of its time it was?  Should producers be dusting off old chestnuts like South Pacific, Hair and La Cage in this time of turmoil?  Or should Musical Theatre simply be an escape for its audience to forget about the turmoil this nation is facing? 

First up: Here’s a fun collection of some of our favourite artists covering the musical theatre greats. It’s not meant to be a comprehensive list; not everyone’s faves are going to be on it.  Not everyone is going to make every list every time. This isn’t a list of the “best,” it’s just that: a mixed tape. Also excluded were more recent folks from the theatre community covering theatre songs. 

Just so we're clear:

Patti Murin is a hundred times classier than to publicly or privately agree with anything said in this article. 

Patti Murin is a hundred times more professional than to acknowledge anything said in this article. 

Patti Murin is a hundred times more respectable to say anything similar to what is said in this article. 

To be quite honest with you, I hope she never reads this article. 

What, to me, was most interesting about the production was how well the ensemble, to include production staff, recreated chaos. The intent was to appear inept, which, at first thought, you’d think would be easy. Just a matter of screwing up on purpose, embarrassing yourself by being blatantly incompetent. How hard could that be, right?

But it is remarkably well-crafted and staged. To affect the kind of audience response that it earned so adequately, required a precision of purpose and execution. Split-second timing, extraordinary attention to details, an exceptional script, experienced performers and a meticulous director.