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theatre buzz
Arkansas Tech Cancels, Reinstates Student Production of Assassins
By Breanne George
In the wake of school shootings at Northern Illinois University, Arkansas Tech University administration canceled a
student production of Assassins, but later reinstated the production after outcry from students, faculty and even the show’s
creators, Stephen Sondheim and John Weidman.
Arkansas Tech University President Robert C. Brown had originally canceled the production, fearing that passerbys would
mistake the blank bullets fired by actors and corresponding sound effects for real gunfire. Students and faculty members
involved in the project were infuriated by the decision, believing administration unfairly targeted theatre.
Reports of gunshots and a shooting injury did take place at recent student parties, but the students were reportedly football
players, not actors. What’s more, administration also permitted a screening of the violent film American Gangster on campus.
Brown’s decision caused a bevy of debate about whether he had overreacted, and in the process, thwarted artistic
expression. A student to play a leading role in the production sent an e-mail to Sondheim, who responded quickly with
support, stressing that Assasssins is not meant to condone violence and urging that the show go on. He also implied that he
would contact Music Theatre International’s legal representatives (the company that holds the musical’s rights).
The play was rescheduled with extra security measures, including seating by reservation, additional security personnel
and bag checks. Actors were permitted to use prop guns and sound effects as intended.
Subsidiary Rights Cause Clash at Roundabout
The Roundabout Theatre Company’s upcoming season won’t include the off-Broadway production of A Prayer for My Enemy
after a clash regarding subsidiary rights.
Playwright Craig Lucas removed his play from the roster when the theatre company sought 40 percent subsidiary rights in
exchange for a production at the Laura Pels off-Broadway space.
A theatre’s subsidiary rights percentage reflects the amount a producer asks for from future licensings of the play; it’s their
recompense for the value they add to the play by taking a risk and mounting the original production. Subsidiary rights are generally
higher for a commercial (e.g., Broadway) run of a show. Roundabout’s 40 percent share is the highest for a non-profit in New
York, on par with the percentage demanded by commercial producers, according to Variety. Percentages vary among New York
nonprofit theatres, though Lincoln Center Theatre makes no subsidiary requests, reportedly due to its large endowment.
Theatre Fights Smoking Ban
By Breanne George
It is in the hands of the Colorado Court of Appeals if
smoking during a theatre performance is an exception to
the state’s blanket indoor smoking ban enacted in 2006.
The Denver Post reports that the Curious Theatre of
Denver, Colo., took the issue to court after seeking permission
to use smoking during an upcoming performance of the play
TempOdyssey, which focuses around a chain smoker.
The theatre lost its battle in the Denver District Court in
Oct. 2006, and recently stated its case to the appeals court on
Feb. 5. The court’s decision is expected in the coming weeks.
While Colorado theatres are fighting for a right to smoke
during performance, Minnesota’s bars have found a loophole
in their statewide smoking ban through the theatrical
performance exception.
Many bars are staging “theatre nights,” in which they
print out fake playbills and encourage guests to dress in
costume. One bar even put up black stage curtains and
signs that read “Stage Entrance” and “Props Dept.” And, of
course, cigarettes and ashtrays are props.
“Theatre night” at other bars, however, gives little
resemblance of a theatrical production. The State Health
Department is cracking down on the shams, but about 30 bars
in Minneapolis have taken advantage of the faux productions.
Lillenas Publishing
Celebrates 25 years
of Christian Drama
Lillenas Publishing, one of the pioneers of Christian
Drama, celebrates 25 years of providing drama during
worship services. Paul Miller, who led the drama efforts
at Lillenas, based in Kansas City, Mo., for many years says,
“In the mid ‘80s, the leadership at Lillenas saw a need to
put some resources behind a drama effort, and that was
a big part of the initial ‘Christian drama movement.’”
Miller points out that a big part of Lillenas Drama’s
success was the talented writers who were tapped early
on to develop material. Martha Bolton was a member
of Bob Hope’s writing team when he asked her to do
work for Lillenas. “Today’s church leaders realize the
power of using drama to bring home the messages they
are preaching,” she says. “Over the years, incorporating
drama into worship has helped to open people’s hearts
and minds.”
Lillenas will hold its “Drama Arts Conference” April
24–26 at the Indian Creek Church in Olathe, Kan. For
information, go to www.lillenasconference.com.
10 April 2008 • www.stage-directions.com