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What We're Reading: July 2018

What We're Reading
A stack of theater magazines and printed articles with post it notes marking specific pages sits on a wood surface. The most prominent is a book titled "theatre journal" and the cover features a woman singing into a microphone.

As members of an organization that believes in the power of conversation to promote systemic change, the team here at The Lark often circulates, amongst ourselves, anecdotes and emails about materials we've read lately that have moved us. In accordance with our commitment to the amplification of necessary voices that reflect the world we live in, this new, monthly post compiles some of the media we have been tuned in to, to share with our wider community. We know these are only a sampling of all the insightful work out there, so if we missed anything that had an impact on you this month, we encourage you to share in the comments section!


On a New York Underground Railroad Tour, Lessons in Resistance by Jacqueline Woodson

"As my partner and I endeavor to raise thoughtful and engaged children, we know a deep knowledge of this country’s past will help them not only survive this moment but realize a future beyond it."

A recap of a Lower Manhattan tour that delves into the city's history and connection to slavery (and includes some insights you won't get from Hamilton).

The Kids Are Alright by Molly Norman

"Fan outrage closed The Great Comet. Fan power got together quite a pretty penny to get a closed show on the Tonys... And where is most of that passion based? In the hearts of young adults."

Editor in Chief of new editorial website The Theatrical Board, writes the site's inaugural piece on the problem with dismissing the voices of young people in the theater.

Kate Bornstein on Their Broadway Debut in STRAIGHT WHITE MEN by Gerard Raymond

"Non-binary was not a word, let alone an option. So, I called myself a woman by default. I had been lying and pretending to be a man and acting like a man. Then I discovered that I was repeating the same kind of behavior, only this time acting out as a woman."

Kate Bornstein offers insights on their journey to this point in their career, including how their personal experiences shaped their role in Young Jean Lee's play, and thoughts on how we claim our identities.

Hannah Gadsby Knows Why NANETTE Is a Sensation by Christine Linnell

"Does she expect to change many hearts and minds? 'Dunno,' she says. 'Ask them. Talk to them. They've got to grow up. If that's what they get out of that special, honestly, if they bring that special back to themselves, I can't help them.'"

In an interview with The Advocate, comedian Hannah Gadsby express the need to, first and foremost, take care of herself, in the midst of overwhelming response to her groundbreaking Netflix special.

Token Theatre Friends with Jose Solís and Diep Tran

"I just really loved the moral conundrums and ethical dilemmas that the play posed, because I left thinking, this guy's really evil, but I also kind of get it... marginalized people, we're never allowed to just be angry."

A much needed new kind of theater review that brings a young, POC perspective to the performing arts, Jose and Diep critique current productions through the use of, get this, a conversation. The most recent episode includes a review of Teenage Dick, produced by Ma-Yi in association with The Public Theater, playing now at the public, supported through playwright Mike Lew's Venturous Playwright Fellowship at The Lark!

Leadership Ensemble by Harvey Seifter and Peter Economy

"Music is being made in these rehearsals, and all orchestra members have both a say in making it, and a responsibility for how it turns out."

A book detailing ideas for new forms of organizational management, as modeled by the Orpheus Chamber Orchestra, which plays with no conductor.

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