commented on Who Killed Teatro ZinZanni?
Those of us old enough to remember that far back know that Norm Langill started out as a performing artist who eventually sidled into the producing side of show business, but he's always been an artist at heart, not a sophisticated businessman looking at the bottom line and maximizing profits over anything else. Nobody goes into the arts - and stays there - to get rich. So maybe he was being a bit Pollyanna-ish to think that whatever deal came of the sale of their lot, things might work out for them. It's a hard, cold dose of Seattle Reality to realize that this town now values their arts and culture institutions far less than the march of progre$$.
In the best of all possible worlds, Washington Holding would/should consider incorporating a permanent home for TZ in whatever they eventually build on the site. That was TZ's plan if they could have purchased the property, and that is their dream for when they eventually reopen in San Francisco - for the spiegeltent to be built into an onsite hotel, as a permanent attraction. To have an anchor tenant like that, bringing in a steady stream of tourists and cirque/cabaret-goers, could only enhance a property's value, in my opinion.
It's a shame that Seattle Opera - which was making money off of renting an empty lot to TZ for many years - couldn't/wouldn't have worked with TZ a bit more closely to help out their fellow artists. Over the years, they must have known that Langill was not the most savvy businessman/negotiator, but if they truly appreciated what TZ brings to the city, they would not have made a sale of the land contingent on it being "free of tenants" at closure.
Finally, a note to MrSteve007 regarding the cost of attending Teatro ZinZanni: It might seem expensive at first blush, but when you consider that it includes a five-course meal and a 3+ hour show in an amazingly unique/beautiful setting, then compare it to comparable experiences, it becomes clear that they're not gouging their audiences to make a buck. Indeed, if they were, audiences would have stopped going long ago.
commented on Dear Academy, You Know How You Rarely Give Oscars to Black Film Artists?
Mr. Mudede, I agree on all of your comments in this article, with one exception: Janelle Monae deserves more credit that you give her. It matters not that "she is one of the most progressive soul singers of our day." What matters is that she gives a superlative performance. With very few lines, she conveys so much with just a look, a glance, or a touch. It is a very understated but eloquent performance.
Dec 20, 2016
commented on Fuck The Nutcracker: Why You Should Go See Every Ballet But This One
"Waaah, my mommy tortured me by making me take ballet lessons!"
Sydney, I am not the world's biggest "Nutcracker" fan myself (although it would be nice if David Schmader would review it under the influence), but just because you had a lousy childhood doesn't do a very good job of persuading the rest of the world to boycott it. Dredging up the hoary old anecdote of teachers hitting their students with canes? That should be relegated to the dustbin of old ballet stereotypes.
And as proud of your mom as you are for her incorporating a hip-hop number into her own "Nutcracker," a simple Google search will show you that there are approximately 70-bajillion different versions of "Nutcracker" incorporating jazz, tap, satire, burlesque, magic, hip-hop, and ad nauseum.
Mar 22, 2016
Why, oh why do performers need to be wearing head mics when performing in a space as intimate as 12th Avenue Arts?!? Have all audiences gone totally deaf, or do actors nowadays not know how to project their voices? UGH.