Howard Sherman is a New York based arts administrator and advocate. He is director of the Arts Integrity Initiative at The New School for Performing Arts. Howard is a regular contributor to The Stage. Read his latest column every Friday.
Screen musicals such as The Prom and The Grinch Musical have filled the space of live theatrical work this year, but without an audible audience response, they have also accentuated our isolation and separation, says Howard Sherman
Dickens’ festive classic has long been a theatrical staple, but this year a film of Geffen Playhouse’s production will be available to stream anywhere, with the proceeds shared between venues all over America
Far from being a blip in this restricted year, the move towards filmed and streamed work during the pandemic could be the spur for theatre to redraw the lines of what constitutes live performance, says Howard Sherman
After nearly a quarter century as the New York Times’ chief theatre critic, Ben Brantley has put down his pen – at least for now. He tells The Stage how theatre has evolved over time, the works he believes have redefined the form, and why he thinks there will be a period in which daily critics, as we have traditionally known them, won’t exist
US unions Actors Equity and the Screen Actors Guild – American Federation of Television and Radio Artists are in dispute over streaming theatre, but it is members who are getting caught in the middle, says Howard Sherman
If we want diversity in the arts, as well as a safety net for all workers, economic structures must change, says Howard Sherman. For example, in the US, loss of healthcare coverage will further undermine the viability of a career in theatre