Sweibel Arts’ Post

https://lnkd.in/ea6CkeEr So, this again. This one play, has two nights that are black out (black audiences only) and it is kicking off again, let's think about this: - whether you are black, white/other, if you want to go, there are ALL the other nights. - it is not obligatory for black people to attend the black out nights, I am sure some may enjoy a mixed audience/not be fussed. - why is this offensive/racist when all non black people can go to any play and anywhere they like most of the time without fire fighting or dealing with the issues we have to when attending a theatre that can be predominantly white e.g. my being asked by a member of the public (not staff) if I was supposed to be there, when using my VIP ticket my friend had booked for me. My being mocked whilst minding my own business, reading on my own in Royal Opera house by older white couple "I bet she's not going to see...." same night my being barged by same couple when there was ample space for them to pass. My presence clearly made them so uncomfortable they had to voice it. Being at the front of a queue and being ignored (a folk festival which I might add one of the headlines was Arrested Development) and the person behind me asked if they had a ticket. - I had the tickets the person behind me was my tall white husband...should I go on? These are all recent. It is 2 nights, it racist to want to feel like we are in a safe space with this subject matter. I wonder if the complainers actually want to attend or are just fitting because they feel left out of 2 nights of, I will say again ONE play out of all the plays in town/the UK. I was subjected to racist abuse from trolls after posting "I can't wait" regarding a play that had 2 black out nights last year. These people need to get over themselves and the fact that they feel like they don't belong in their own country - welcome to our world. That this is even a thing makes me furious, this time they added fuel to one of the headlines "all black cast, with all black audiences - definitely racist". So divisive. To be clear, when black people attend these plays with potential triggering content, they feel it to the core, as it could be them in another place and a time. When white people attend they have empathy. Both emotions matter it is how we become allies, but they are not the same thing. A real ally would understand why I wanted to go on a black out night or at least try to. -

This is a sad day for Black British Theatre. Eclipse Theatre has shut down. Black British Theatre has been feeling the heat in recent years, especially after the pandemic. Covid was a real disaster for the theatre world. Creatives are also feeling it because to survive is getting harder. When the foundation shuts down like this, it affects more than the people who work at this particular theatre company. It affects the ecosystem. Theatre as a whole has been going through a rough time since the pandemic ended. You may have noticed ticket prices have gone up a bit. Maybe you noticed the theatre was cold during a show like a friend pointed out to me. I like the cold, so it doesn't bother me. However, she was freezing. Her theory, it could be they are turning down the heating to save cost. That was a new one for me. It never crossed my mind. Things have been tight. The Stage digital platform has had a number of stories about this. There was hope the budget would soften the blow. If the big boys and girls of theatre are struggling, imagine what the small league members are dealing with. Multiply that by 10 for Black British theatre companies and practitioners. One of the issues at the core of this struggle for the theatre space is FUNDING! Same with other creative sectors. I can't help but think about Talawa Theatre and Tiata Fahodzi at this time, and other pioneering Black British Theatre Companies? While we await the full context - https://lnkd.in/eMTBdnzk - for the shutdown of Eclipse, we hope for the survival of the ones we have left. #Theatre #BlackBritish #BlackBritishTheatre #BlackStories #BlackNarratives

Nine successful years and first results in the fight against toxic theater structures in the German-speaking theater system It was only 9 yrs ago that we all began to fight for a better theater system and for better working conditions. Discussions about abuse of power, overstepping of boundaries and management mistakes only began in 2015 with the theater directors K Sibelius at the Theater Trier and M Hartmann at the Burgtheater in Vienna. Since then, the ensemble-network and many other action groups have been formed, articles have been written, the book "Theater, Krise und Reform" was published in 2016, and a discourse space has developed that advocates changes in organizational structures, the fight against abuse of power and the development of new management models. In the process, many board members who had abused their positions of power for their own benefit and who had not used their power carefully enough fell victim. 9 years - a very short time, but one that has already brought initial success. But it is not enough, because there are still toxic directors in power, there are still special regulations and production conditions for theater directors, organizational structures need to be transformed, salaries are still too low and working hours are still abysmally bad. So there is still much to be done. But as the success so far shows, it can be done. The example of the first two directors held accountable shows that the public is interested in these cases. What is striking, however, is that the charges are dropped - in exchange for a payment of only 10,000 euros. Those who have earned a lot can afford expensive lawyers... Nachtkritik writes: "Karl Sibelius, general director of the Trier Theatre from 8/2015 to 11/2016 with overall responsibility, has to answer for breach of trust before the Trier Regional Court as of today. Various media, including SWR, are reporting this in unison. Sibelius (...) is accused of exceeding the theater's budget by 1.3 million euros in 2015 and 1.7 million euros in 2016. The city reportedly had to take out a loan of one million euros to cover the deficit. Sibelius' lawyer, Andreas Ammer, reportedly said that the allegations in the 53-page indictment were essentially correct. However, the wrong conclusions were drawn from them. (...) It was not until May 2016 that it became clear that the budget had been exceeded. Sibelius, whose contract was to run until 2020, was let go early. The city had to pay 300,000 euros in compensation. (...) The case was dropped on the first day of the hearing "in exchange for a payment of 10,000 euros," according to SWR. The chamber wanted to "keep things in perspective" and suggested dropping the case due to "lesser guilt". (9/2/24) https://lnkd.in/e7ctzdZ4

Next week, for my Artist Representation course, I have the incredible opportunity to visit UTA's New York office. As part of this experience, my peers and I were each tasked with choosing a celebrity talent to practice "representing." For my project, I selected Tony Award-winning artist Lin-Manuel Miranda. In preparation, I’ve been diving deeper into the theater sector of UTA, and I recently read about Patrick Herold and Rachel Viola, the co-heads of UTA’s theater department. According to the article, Herold and Viola will oversee UTA’s theater division and report to Jay Gassner, the co-head of talent, and Allan Halderman, the co-head of TV lit. The article highlights the wide range of talent UTA’s theater department represents, including playwrights, composers, directors, choreographers, music directors, and designers—not just actors. This broad representation struck me as an important element of UTA’s strategy, as it emphasizes their commitment to the full spectrum of creative talent that drives the theater world. The article also noted that UTA’s theater department has seen recent successes, including The Outsiders winning Best Musical at the Tony Awards, and 28 other Tony nominations across their broad roster of talent. This underscores the department’s strong influence in the theater industry. Something I found particularly interesting was the close relationship between the theater and TV sectors. As Herold and Viola report to Halderman, the co-head of TV lit, I wondered if this proximity might lead to more opportunities for theater talent to transition into television and vice versa. With these sectors working closely together, there’s potential for talent to become more multifaceted, and new, unique opportunities could arise as a result of this collaboration. This overlap between theater and television could also suggest a future where theater talent increasingly moves between both mediums, further blurring the lines between traditional stage performance and the evolving landscape of TV and film. It's something I'm eager to explore as I prepare for my visit to UTA. Esquire Group Inc. James (J.T.) Hutchinson Read more! - https://lnkd.in/euf-z9fW

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When interviewed recently, playwright Jeremy O Harris has said he is “so excited’ to bring the “Black Out nights” initiative to the West End again. He’s referring to ‘Slave Play' which is set to open in the West End in London on 29 June for a limited season. Directed by Robert O’Hara, this play about race, identity, and sexuality in 21st century America has already seen success on Broadway, becoming the most Tony-nominated play of all time. A number of untruths about the Black Out nights have since surfaced -let’s unpick them. Black Out nights were introduced by O Harris for this production in 2019. He explains; “The idea of a Black Out night is to say this is a night that we are specifically inviting Black people to fill up the space, to feel safe...in a place where they often do not feel safe.” He also said, “it is a necessity to radically invite them in with initiatives that say, ‘You’re invited. Specifically you.’” Black Out nights are NOT ‘segregated’ nights, they are nights where tickets are ‘by invitation only’ and are sent to community groups and organisations which are predominantly representative of Black people. So why are Black Out nights necessary? ‘Invitation only’ events take place across the UK on a regular basis where the invitees are predominantly white organisations; ask yourself - where’s the outcry? Jeremy O Harris put it; “there are a litany of places in our country that are generally only inhabited by white people, and nobody is questioning that”. We know that theatre audiences in the UK are predominantly white, 93% in fact. The reasons for this include Black people not feeling welcome in historically white spaces, a distinct lack of Black talent in theatre, and high ticket prices creating a barrier for those from lower socio-economic backgrounds- in which Black people are disproportionately represented. The price is an issue which was addressed by the Black Out initiative when O Harris did it in 2019 through the availability of low cost and free tickets. Ultimately, challenging this initiative is to challenge progress as taking an equitable approach such as Black Out is anti-racism in action. You can find out more here: https://blackoutnite.com

What Hans Weichhart, AEA, AGVA said: To me, theatre isn't just a building. Theatre isn't just a play or a musical. Theatre is storytelling and whether you tell that story through words, dance, music, or art, it doesn't matter. The impact that theatre has to provoke thought, invoke emotions, and inspire change is what makes me so proud to celebrate #TIOS and to thank all of the dedicated #theatreeducators out there! Storytelling--also essential in writing for grants, annual reports, promotional information, etc. etc. etc. Wonder just how many people in grants, marketing, PR, etc. also have #theatreeducators to thank? Now's the time!

Are Broadway shows moving to earlier evening start times? That seems to be a trend as some shows address the post-pandemic decline in audiences, especially from suburban areas. Historically, evening performances started at 8:30 p.m., but have since shifted to 8:00 p.m. More recently, shows have been moving start times to 7:00 or 7:30 p.m. and adding more matinees, catering to families, tourists, and older audiences who prefer earlier shows. Matinees, particularly on Thursday afternoons, have become more popular than Saturday nights. Shows like Disney’s “Aladdin” and “The Lion King” now feature 6:30 p.m. performances on Sundays. Some productions, like “Oh, Mary!,” are opting for two evening performances instead of a matinee. The ongoing adjustments aim to get theaters back to capacity. #theater #broadway #onstage #tickets #boxoffice https://lnkd.in/e3z7Pgyd

WARNING: My curiosity and concern probably WILL ruffle feathers. Just to let you know, I am accustomed to living in discomfort. Here we go... I'm exploring the state of the #arts, particularly #theatre, where I first found #acceptance, #trust, and real #collaboration. Historically, the pendulum has swung in one direction for far too long. Naturally, it will swing in the opposite direction as a response, and eventually, something in the middle will emerge. It's not right, but life tells us repeatedly that it doesn't care. I am listening to the voices of the pendulum swing. Of course, they have had enough because the old guard became bloated and less about the art and the stories being told. Many of the old guards participated in check-the-box DEI, completely #pejorative and uninformed, pandering to butts-in-seats over quality stories. However, when did some forms of #activism become the #newMcCarthyism? The current swing is more a #cull of anything resembling the old guard. When did an art form dependent on #freespeech, with the intent to hold up a mirror to society, become required to #succumb or be #eliminated completely? I'm disturbed and concerned as it's no longer a place of #acceptance and true #collaboration. We were finally at the point of letting more diverse people tell their stories from their perspectives. New stories and a dialogue on what the future could be. Maybe the show shouldn't go on this time. We need real dialogue across the board where everyone [yes, everyone!] gets to participate. For your reading [dis]pleasure:

I find this a very hard pill to swallow at a time when we are having discussions about equity and inclusion. Especially for a predominantly black organization. I think that this is an extreme response from management to minor infractions on company policy. There needs be clear procedures and steps to holding accountability. Now you have an entire group of dancers out of work and no company for a season that is getting ready to start. This is exactly why dancers need unions to protect already fragile working relationships.