On September 3, the cast of ‘Natasha, Pierre and The Great Comet of 1812’ will perform its last show. The story of its demise is of a single-minded drive for diversity destroying art and opportunity.
The film director throws out a lot of stereotypical views about conservative ideas, but deep down, he thinks and acts much like the rest of us.
Given that a fairly elected president bears no resemblance to Julius Caesar, why did New York’s Public Theater make this choice?
‘Fences’ is about so much more than merely race relations, for which the critical community mistakenly applauds it to this day.
Audiences are ready for plays of faith, yet many theater companies are not, and they are missing the opportunity for larger houses as a result.
I wanted to build my life upon Madeline L’Engle’s model. She ultimately failed me, but not completely; and I love her still.
‘Hamilton’ has been nominated for 16 Tony awards, not least because it gives full-throated cheers for America and freedom that all Americans can join in.
Banning actors from playing characters outside their own races limits casting opportunities and narrows what’s available for audiences of live theater.
William Shakespeare’s words have never before been changed wholesale to accommodate the intellectual laziness of a generation of artists and audiences.
The dialogue in this theater scene uses only direct quotes from the recent Planned Parenthood baby-part-selling video.
The theater community celebrates demonstrably false portrayals of history that support liberal narratives, but attacks demonstrably true portrayals that support conservative conclusions.
For the nation’s theaters to demand that Jews produce anti-Israel work in their own theater is insulting.
Six years ago after David Mamet outed himself, Jonah Goldberg said he’d lose favor. But among popular audiences, demand for his work has never been higher.
Far from ushering in a new age of American participation in the arts, public dollars have marginalized many art forms.
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