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Nestruck on Theatre: Seven reasons for locked-down theatre fans to cheer up – 2 Pianos, 4 Hands and one new Hannah Moscovitch play Bookmark Please log in to listen to this story. Also available in French and Mandarin. Log In Create Free Account
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Christopher Katsarov/The Globe and Mail
Twenty-five years ago this week,
2 Pianos, 4 Hands premiered at the Tarragon Theatre in Toronto – and the play for two actor-pianists has hardly ever not been onstage somewhere since then.
Ted Dykstra and Richard Greenblatt’s co-written coming-of-age comedy about two boys passionately pursuing and eventually painfully letting go of their dreams of being concert pianists has been seen by close to two million people over its roughly 4,000 performances to this point, according to its producers.
Lord of the Rings Actor Walks Away from the Amazon Show – /Film slashfilm.com - get the latest breaking news, showbiz & celebrity photos, sport news & rumours, viral videos and top stories from slashfilm.com Daily Mail and Mail on Sunday newspapers.
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Exactly a year ago, when Australiaâs theatres all abruptly went dark, Michael Cassel, executive producer of
Harry Potter and the Cursed Child in Melbourne and the upcoming
Hamilton at Sydneyâs Lyric Theatre, started planning for his worst-case scenario.
âWe thought, OK, letâs hope itâs a couple of weeks â but maybe itâs a month,â he says.
As a result of the pandemic, they had already cancelled their
Lion King international tour scheduled to open in Wuhan, of all places. Now âthere were zero dollars coming in to pay the cast and crew on production, zero dollars for our company [Michael Cassel Group] to keep everybody employedâ.
One year after COVID-19 lockdowns, how is Australian theatre faring? smh.com.au - get the latest breaking news, showbiz & celebrity photos, sport news & rumours, viral videos and top stories from smh.com.au Daily Mail and Mail on Sunday newspapers.
Teacher-student affair ânot a love storyâ: why playâs male directors got it wrong
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By Jane Mulkerrins
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When Canadian playwright Hannah Moscovitch began working on the script that would eventually become
Sexual Misconduct of the Middle Classes, she had certain expectations of audience reactions. âI thought: theyâre going to hate the female character, Annie. Theyâre going to think sheâs a monster, and theyâre going to judge her,â she recalls.
At the first reading of the play in front of an audience, however, at the Seattle Repertory Theatre in June 2017, the opposite occurred. âAll my expectations were reversed,â says Moscovitch. âThe vitriol the audience expressed was towards the male character, Jon. Thereâs a moment at the end of the play where he stands, looking out at the audience, and, in that moment