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| re: At Home with Diane Paulus | |
| Last Edit: lordofspeech 05:25 pm EDT 08/12/17 | |
| Posted by: lordofspeech 05:24 pm EDT 08/12/17 | |
| In reply to: re: At Home with Diane Paulus - CCentero 03:13 pm EDT 08/12/17 | |
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| So happy that this SUCCESSFUL theatre artist can afford an apartment and furniture. I'm sure she still has less than politicians like Obama, the Clintons, Trump, the Bushes....BUT SHE HAS A NICE PLACE TO LIVE!!!! I think that's something to celebrate. Artists should have as much as politicians! My opinion. And I went to a number of her productions and never felt gypped I liked HAIR. A lot. A whole lot, and not just because of Creel and company, but for some way the chaos surprisingly made way for a cohesive plea for peace. I thought her staging was wonderfully invisible and yet cohesive. I never saw the original Fosse PIPPIN, but I liked this one pretty well, and I think putting the circus thing in it made both critics and audience feel good about it and gave it a sell-able brand. And Paulus' production brought us the multi-layered performance of Rachel Bay Jones (hope I have the right name) redefining the Jill Clayburgh role. That was a performance for the ages. So that made the whole show worthwhile. PORGY AND BESS may have made a mistake in having Porgy not be a cripple (which threw everything else in the plot and every other character, especially Bess, in the piece askew), but it was worth a shot to try that, even if only to make sure no one ever tries that again But it was pretty exciting to watch (and be astonished by) Audra McDonald's virtuoso technique, and to see it and then reflect upon all the different criticisms and histories of the original script which were occasioned by this production. I also saw Ms. Paulus' production at Columbia of her adaptation of my favorite James Baldwin novel. And that was good, too. She's no slouch. She's not perfect, but, then, probably neither was Abe Burrows, and even Hal Prince wasn't. |
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| Lordofspeech, we don't... | |
| Posted by: andPeggy 11:06 pm EDT 08/12/17 | |
| In reply to: re: At Home with Diane Paulus - lordofspeech 05:24 pm EDT 08/12/17 | |
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| ... say gypped anymore. Yell at me all you want. BURP! |
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| re: Lordofspeech, we don't... | |
| Posted by: lordofspeech 11:19 pm EDT 08/12/17 | |
| In reply to: Lordofspeech, we don't... - andPeggy 11:06 pm EDT 08/12/17 | |
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| Thank you. I'm not sure what the BURP meant. Maybe you were having dinner when you posted? Anyway, I got it. "Gypped" is a word derived from when "gypsies" were thought to be a people who swindled and hoodwinked and took payment for less than satisfactory goods. And I just wasn't conscious of that. Shoot. I like the word, "gyp," but I guess it can be retired. I could say "taken" or "taken for a ride." Is the word "gypsy" also off-limits? Esmeralda the Gypsy. Lots of legend about gypsies stealing babies. Thank you for bringing this to my attention, and my apologies to any....Bohemians (?)....my word choice offended. |
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| re: Lordofspeech, we don't... | |
| Posted by: Singapore/Fling 01:58 pm EDT 08/13/17 | |
| In reply to: re: Lordofspeech, we don't... - lordofspeech 11:19 pm EDT 08/12/17 | |
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| "my apologies to any....Bohemians (?)....my word choice offended." Technically, Roma or Romani, though we don't tend to hear that word used outside of Europe, where there is still a significant (and stateless) Roma population. |
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| re: At Home with Diane Paulus | |
| Posted by: BigM 09:37 pm EDT 08/12/17 | |
| In reply to: re: At Home with Diane Paulus - lordofspeech 05:24 pm EDT 08/12/17 | |
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| I echo your sentiments. All artists should have nice places to live, and she's not responsible for what Harvard does with its theater program. The only show of hers I've seen is Pippin; it didn't match the Fosse original, but I would have thought the piece was unrevivable, and her concept made for a perfectly respectable production. As for the rest of her shows, I can't name a director who hasn't gotten a variety of pro and con judgements on this very board; in this art, in the end, it's largely a matter of subjective opinion. | |
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| re: At Home with Diane Paulus | |
| Posted by: NYCscribe 10:23 pm EDT 08/12/17 | |
| In reply to: re: At Home with Diane Paulus - BigM 09:37 pm EDT 08/12/17 | |
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| Diane comes from a family with money. As does Ben Platt. Should we be mad at them for this? | |
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| re: At Home with Diane Paulus | |
| Posted by: JereNYC (JereNYC@aol.com) 01:19 pm EDT 08/14/17 | |
| In reply to: re: At Home with Diane Paulus - NYCscribe 10:23 pm EDT 08/12/17 | |
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| Exactly...it's highly unlikely that Paulus is paying the rent on her UWS townhouse strictly with money earned from her career as a director. In addition to family money, I imagine her husband probably has a job that brings in a nice salary for their family. I know it's gauche to talk about money, but part of me wishes that the writers of these "let's meet these working theatre artists living in fabulous NYC homes" profiles would find a way to mention exactly how these folks pay for their homes and expensive furniture. Something like "A legacy from grandparents helped Mr. Smith and his partner afford to make the move to blah blah blah." I also wondered whether ABC had perhaps given Paulus a discount on her furniture in exchange for being plugged in the article. The other part of me recognizes that it's none of anyone's business how these folks pay for their lives. These profiles are pure fantasy aspiration for those of us without family money who need to pay the bills with what we earn from our work. |
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| Her husband does have an income.... | |
| Posted by: towel 09:42 pm EDT 08/14/17 | |
| In reply to: re: At Home with Diane Paulus - JereNYC 01:19 pm EDT 08/14/17 | |
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| Paulus' husband came up with a name for ART's second performance space. He had a contest and the winning name was "Oberon." According to The Boston Globe "The university owns the Oberon building and takes in the revenues from it, but Weiner owns the trademark to Oberon and is paid a monthly royalty." This is for use of the name. He "wrote" The Donkey Show so he gets royalties from their consistent performances of his show produced by the theatre his wife runs | |
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