Monthly Muse
Hello friends! Welcome to the Monthly Muse.
Madie here, sharing some exciting work that Margaret has created this month. This past month had a lot of news articles and much of her energy was dedicated to working on her thesis, but nonetheless, there were some super exciting features. Those features are linked below.
As always, hope everyone has had a fantastic month and I can't wait to share all of her work next month.
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Now, a look back at the highlights of February 2023:
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Some of you are probably aware that this piece of Margaret's was pulled for reasons outside of her and her editorial team's control. It was taken down before she had the chance to preserve a copy for her own records; however, an industrious reader preserved it online, and it can be read there. She is not at liberty to discuss the details of the situation but stands in support of greater support and compassion within the industry.
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"You can't have a blanket statement saying, "There used to be overtures, now there aren't." I think it has always been a question of people with imaginative theatre ideas, saying, "How can we play with the audience? How do we get into a world of the theatre."
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"When Pulitzer finalist Sarah Ruhl met Max Ritvo, a young poet, in her playwriting workshop at Yale University, it didn’t take long for their mentor/mentee relationship to reverse. Ritvo, who had been diagnosed with Ewing’s Sarcoma at 16, experienced a recurrence of the cancerous tumors that semester, and the pair were soon sharing a thread of correspondence, tracking Ritvo’s struggles with anticipatory grief and mortality."
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"Both Genao and Dobson are pushing against the constraints of stereotypes. The daughter of Dominican immigrants, Genao’s tenderness flies in the face of the fiery-Latina cliché. And Dobson’s acceptance of rage as a Black man stands in direct opposition to the silencing rhetoric that has been forced upon the Black community for centuries. Both the actors and their characters in Bad Cinderella are on the precipice of self-determination, shedding the pressures of expectation and embracing their own authenticity. In the fairytale world of Belleville, they’re able to fashion a new future for themselves, which is in turn is inspiring their own behavior in the real world."
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"The swings of & Juliet are bringing the flavor, and they're ready to show you how.
The anachronistic jukebox musical, which blends the pop music of Max Martin with William Shakespeare's Romeo and Juliet, opened on Broadway November 17. A West End transfer, the show celebrates individuality: each and every ensemble member and swing having their own character breakdown and custom-built series of costumes, unique to each performer."
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"It’s no secret that Broadway orchestras have been shrinking. Since the mid-20th century, pressures on pit size have sliced away at the sonic landscape, with technologic innovations such as synthesizers and audio preprogramming swooping in to seemingly replace acoustic instruments. When Oklahoma! opened on Broadway in 1943, it had a 28-person orchestra, which was already seen as a significant compromise from the standard chamber orchestra size of 50 musicians that composers were trained to write for. Now, many Broadway pit orchestras are less than half of Oklahoma!’s."
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Good vibes and happy thoughts,
Madie W.
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