American Theatre March 2020

WERE HUMANS IN PRE-ATOMIC AGES AS PRONE AS WE NOW seem to be to apocalyptic imaginings? History would seem to say yes—that long before we built weapons that could literally obliterate the world as we know it several times over, our ancestors already feared (or hoped) that the ravages of plague, war, famine, natural disasters, and/or some kind of divine judgment would effectively wipe the fragile human family off the face of the Earth. We still live under the terror of all those threats, not to mention with arsenals of world-destroying weapons still poised to strike (look up the Doomsday Clock if you’re jonesing for a reality check). But in the last few decades another existential peril has come into alarming view: the global climate crisis, which, depending on your…

For this issue’s lead story on environmental crisis and theatre (p. 14), we turned to Lanxing Fu and Jeremy Pickard, the directors of Superhero Clubhouse, a New York City-based collective that pursues climate justice through theatre. “In writing this article, I was reminded of how all-encompassing and yet invisible the climate crisis is in the theatre,” says Fu. “I think the best work that is happening out there in this arena centers hope over despair. I find a lot of hope in the increasing number of artists who are willing to take a step back and examine not only what they are doing, but more importantly, the process by which they are practicing their craft.” She continues, “From this process, I’m personally bolstered by having exchanges with many artists and…

IT’S A BRISK DAY IN NEW YORK CITY AS I WRITE this column, still holding on to all the fabulous and relaxing moments I had on my recent birthday trip to India. You may remember from my first column in American Theatre magazine (May/June ’17), I was born in Guyana, and my family’s immigrant story is part of the Indian diaspora to the Caribbean that dates back to the 1800s. Traveling to India was both a magical and a humbling experience for me. My personal set of beliefs often lead me to challenge traditional or outdated value systems. Often I look ahead to build something new. But the trip to India reminded me of the importance of introspection and lineage. While it can be difficult for me to slow down,…

MORGAN M. MANFREDI IS CLIMBING—9,000 FEET above sea level, to be exact. She relocated to the Rocky Mountains in January to serve as the managing director at Creede Repertory Theatre (CRT) in Creede, Colo., the place she got her start as an arts administrator eight years before. Most recently she served as associate general manager at McCarter Theatre Center in Princeton, N.J. She also worked as production manager of American Family Theatre in Philadelphia; company manager and associate general manager of Bucks County Playhouse in New Hope, Pa.; and production staff for Broadway Sacramento at Music Circus. Now back in Colorado, she’s working with CRT producing artistic director John DiAntonio to lead the financial and daily operations of the company. ALLISON CONSIDINE: This move is a sort of homecoming. Can…

260 YEARS AGO (1760) Following moves prompted by the Colonies’ frequent bans on theatre, the Douglass Company—the merger of David Douglass’s troupe and the British Hallam family’s—relocates to Maryland. In Annapolis, Douglass builds one of his many Colonial theatres, just eight weeks after leaving Pennsylvania. The Orphan opens the New Theatre; one review calls the attendees “a polite and numerous audience, who all express’d a general satisfaction.” 185 YEARS AGO (1835) Nathaniel Bannister, a prolific and popular actor and playwright from Baltimore, presents a new play, The Adventures of a Sailor, at the Camp Street Theatre in New Orleans. The playhouse, also called the American Theatre, is in the midst of its most successful period, 1824 to 1839. The theatre will earn a reputation as an early adopter of gas…

■ Victory Gardens Theater in Chicago has announced that artistic director Chay Yew will depart at the end of the 2019-20 season. Yew, who began in the position in 2011, will complete his ninth season with the company in June. ■ Jay Woffington, executive director of Cincinnati Shakespeare Company since 2012, has stepped down. Woffington, who left the position to become CEO of Christian Moerlein Brewing Company, will remain associated with the theatre, serving as a board and executive committee member. ■ Soho Rep in New York City has announced a new shared leadership structure, naming producer Meropi Peponides to the position of director, artistic development and producing, alongside artistic director Sarah Benson and executive director Cynthia Flowers. ■ Arizona Theatre Company in Phoenix and Tucson, Ariz., has announced that…