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Wednesday, August 26, 2015
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News and Reviews
Serge Bloch
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Bad Singing and Fire Eating: Actors on Their ‘Special Skills’
By ERIK PIEPENBURG
Common skills like speaking with accents, juggling and handling stage combat are standard. But others are special and considered valuable.
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Michelle V. Agins/The New York Times
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Review: In Philip Ridley’s ‘Mercury Fur,’ It’s the World’s End, and the Party’s Here
By BEN BRANTLEY
This dark play features grotesque festivities that are staged in New York after society has become only a shadow of what it once was.
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Paula Lobo for The New York Times
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Review: ‘Informed Consent’ Tests the Ethics of Genetic Research
By CHARLES ISHERWOOD
This play at the Duke on 42nd Street is about an anthropologist whose deeply personal reasons for pursuing her work lead her into questionable moral territory.
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Evan Sung for The New York Times
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Internet Outcry Over Diversity Leads Manhattan Theater Club to Announce Season Details Early
By LAURA COLLINS-HUGHES
The company’s announcement of productions solely by white male playwrights led to protests on social media, followed by a change.
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Jenn Ackerman for The New York Times
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Minnesota Theaters Embrace New Leaders, and Others May Follow
By DOMINIC P. PAPATOLA
Leadership turnover is coming to America’s regional theaters, as the Guthrie and others see new faces in decision-making positions.
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Sara Krulwich/The New York Times
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Review: In A. R. Gurney’s ‘Love & Money,’ a Grandson Materializes to Claim His Fortune
By CHARLES ISHERWOOD
A young stranger interrupts a wealthy old widow’s plan to give away everything she owns in this new play at the Signature Theater.
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Dixie Sheridan
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Review: Taking In the New York International Fringe Festival, From Ferry to Theater
By LAURA COLLINS-HUGHES
With nearly 200 productions, navigating this festival can be difficult, but it can also be a surprisingly happy theatergoing experience.
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