“A good Broadway musical revival should leave audiences with a piece of the show that they can carry into their own lives, bridging the gap between then and now in a way that shows that some things remain the same throughout time.”
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“When thinking about how to tie this into her love for performance, Kumala reflected back on the power in the knowledge of global issues and advocacy. “I felt like I really wanted to tell these stories because if only people understood and learned about the world outside of their own bubble, they would be able to make more empathetic decisions in their business practices, government positions, and in their daily lives,” said Kumala.”
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With a contract that details her three-month run in Aladdin on Broadway, Pires admits that she can only hope that she will be able to perform for three full months whenever Broadway shows resume. If the shutdown lasts more than 3 months from her intended March debut date, is her time in the show up?
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Interns are not meant to be indispensable to operating the theatre or running the show. If you’re solely responsible for lighting Scene 4, laundering costumes, checking props for Act I, keeping the actor playing Hamlet from missing his entrance, and acting as the understudy for Gertrude, you’re indispensable and therefore not an intern.
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When I sat down to do all these projects, I stared blankly at my computer screen. I had very little motivation or inspiration to do any of these projects. The reality was, I was mourning.
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It’s a tricky tightrope to walk, working with friends, isn’t it? We have an idea we are excited about, we want to see it through, but how do we navigate the lines which are so blurred between personal and professional?
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The Madison Square Garden performance certainly had the desired effect on this oft-overlooked demographic, and if their interest in theatre holds, we may be able to further introduce them to a world previously inaccessible to these children.
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Vulcan Theatre Company’s production of Macbeth is about to take the stage in New York City, focusing on the play’s gender politics, cycles of violence, fate vs. coincidence, and more in this iteration of the well known Scottish Play by The Bard. But there’s a twist.
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For actors, directors, and writers alike, the process of creating and pursuing a creative career can often feel like a daunting and isolating way of life. Then, if you are fortunate, you find a group that envelops you in support, acceptance, and understanding. It is the most sought after commodity; it is your tribe.
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Because the New York theatre community at times has a very odd relationship with our international artists.
We can all agree that the inclusion of international perspectives and talents makes for better art.
Everyone triumphantly joins in on “Immigrants, we get the job done” should the Hamilton cast album happen to start playing at a party.
But most of us are not aware of the the daily struggles and catch-22s faced by international artists as they navigate life, art, and the ever-daunting visa process in the US.
What is it like to be an international artist in NYC?
Don’t ask me.
Let’s ask an international artist!
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Broadway favorite Catherine Ricafort (Spongebob, Allegiance) recently made her debut as a director and choreographer with the release of a new hip-hop video from her brother Juan Drigo Ricafort, also known as "Super Smack."
The video, titled "Choose," is a "jazzy anthem that tells Super Smack's origin story as a software engineer who became a musical theatre actor, who ultimately became a rapper. Catherine, who was awarded the Broadway Legacy Robe in 2017 with Miss Saigon, skillfully handles this story telling by leveraging video games - one of her and her brother's common interests - as a metaphor for choosing one's unique path in life."
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