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We, the undersigned members of the Stanford community, condemn in the strongest terms possible the state of Israel’s systematic destruction of Palestinian property, homes and lives. The recent expulsion of Palestinians from their rightful homes in Sheikh Jarrah which, along with Israel’s violent attack on peaceful worshippers at al-Aqsa mosque during the holy period of Ramadan, has precipitated the violence we see unfolding is but one part of an unbroken history stretching back to the 1948 massacre of over 100 Palestinian men, women and children in the village of Deir Yassin. Then, as now, Zionists reached beyond UN-mandated borders to expel and kill Palestinians and illegally seize their land. In the recent decade, Israeli policies have become even more aggressive.
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Commentary: Cut the intermission, please Why I hope the pandemic ends a theatrical tradition
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The intermission was already on shaky ground before the pandemic. The convention of the two-act play, interrupted by 15 minutes of recess, was starting to feel like a relic of the theatergoing past.
After lockdown, the interval’s days seem numbered. The vaccines appear to be miraculous, but they won’t erase all our qualms about indoor public gatherings. It’s hard to imagine even the most die-hard spectators wanting to spend more time than necessary crowding into lobbies between acts for overpriced wine and snacks or waiting in bathroom lines in unsavory cramped spaces.
Broadway, flying a retrograde flag, is dragging out its warhorses (“The Phantom of the Opera,” “Jersey Boys”), hoping to convince at least its former customers that nothing has changed. But this illusion will be hard to sustain as playwrights gravitate toward more compact forms and directors look to condense classics as artfully as the National Theatre’s “Romeo & Juliet” film that aired on
In the most trying of times, the Round House Theatre has managed to put together a pretty remarkable season, entirely online but leaning on one-person showcases that eliminated the need of distancing among cast members.
They perform on fully dressed theater sets (instead of a Zoom window), before a minuscule audience, either to bolster the actor or provide laughs in the spaces needed.
As with previous offerings this season, the streamed presentation of Lucy Alibar s Throw Me on the Burnpile and Light Me Up begins with the few audience members, in masks and face shields (and sometimes masks
and face shields) entering the lobby and getting their tickets torn. Just 10 people were allowed to see Beth Hylton s performance live for the two performances filmed last month.